Wings of Dread (万米危机, Ashton Chen Xiaolong & Qin Pengfei, 2026)

Perhaps surprisingly, aeroplanes seem to be dangerous places in recent Chinese cinema. From the hardware failure of The Captain to Oxide Pang’s hijacking drama High Forces, something always seems to go seriously amiss when it comes to air travel. Streaming actioner Wings of Dread (万米危机, wàn mǐ wēijī) is the latest in this growing genre and once again carries a mildly patriotic message in praising the Chinese air police who are willing to put their lives on the line to ensure passenger safety.

Then again, former cop Chaoyang (Ashton Chen Xiaolong) may feel a little bit inferior after giving up his police career to become an aeroplane security officer in order to spend more time with his girlfriend, air stewardess Dong Lu (Nita), who also gave up her opportunity to work abroad. Dong Lu has evidently had enough of Chaoyang’s grumpy behaviour and moved out their flat, though he is carrying a ring he still hopes to give to her. Rushing to the airport in an attempt to convince her to move back in before her next flight, Chaoyang becomes distracted by a drug user and decides to take down their entire gang first. From a certain point of view, his priorities may be all wrong, though the main problem in the relationship seems to be that Chaoyang expects Dong Lu to be in stewardess mode all the time by being constantly cheerful and treating him like a prince without seeing her as a real person who needs to be able to switch off and relax after a long shift.

This relationship issue is never resolved in a concrete way but only through the action movie trope of Chaoyang’s proving his heroism by saving Dong Lu when the plane they’re both on after he flew to her destination to win her back is hijacked by a criminal gang. One of China’s most wanted has been arrested in a fictional South East Asian nation and is being escorted back to the mainland. Among the passengers, there are both undercover members of the gang planning to break him out and plain-clothes security officers ready to deal with any trouble. Slightly confusingly, the gang have also brought a bomb and are threatening to blow everyone up if the captain doesn’t fly to their chosen destination, which at the very least seems counterproductive and a little bit reckless on behalf of the crooks.

That the bomb got on board along with a lot of 3D printed plastic guns can be attributed to lax security procedures at the airport in the fictitious South East Asian nation, but the point is that this plane is well protected by Chinese air police. Villain Paquet (Iko Uwais) sneers that Chinese police are “pathetic”, which proves quite irritating to Chaoyang who immediately bounces back to win the fight and prove that they are willing to do whatever it takes to ensure passengers reach home safely even at the cost of their own lives. The passengers too are unusually co-operative after being made aware of the bomb threat, giving up their bags to form a barrier and even joining in with the final fight against the bad guys. 

Qin, who is known for his skill in shooting action sequences in confined spaces, does some of his finest work in a fight between a female officer and gang member set entirely within a toilet cubicle, while otherwise making full use of the environment as passengers grab tray tables to attack the hijackers who equally throw opponents over shelving units and smash their heads into arm rests. Casting top international action star Iko Uwais as the villain adds a degree of prestige unusual for a streaming film, though choosing to dub his voice seems like an odd decision, especially as all his dialogue is in English. Nevertheless, the film is impressively put together and largely transcends its streaming origins in scope and ambition despite the looseness of its plot and occasionally awkward attempts at humour. 


Wings of Dread screens 21st August as part of Big Bad Film Fest.

Trailer (no subtitles)

The Wandering Earth (流浪地球, Frant Gwo, 2019)

Wandering Earth poster 5Chinese cinema has not been as averse to science fiction as some would have it, but it’s true enough that The Wandering Earth (流浪地球, Liúlàng Dìqiú) marks a bold new chapter in its ambitious attempt to take Hollywood on at its own game. Adapting the novel by China’s premier sci-fi author Liu Cixin, Frant Gwo’s third feature is an interesting take on the New Year movie in which new beginnings are sought and families desperately try to reunite to see them in, only this time they do so against the backdrop of impending apocalypse as the universe threatens to swallow us whole.

Far in the future, the vast expansion of the sun will soon consume the Earth. The Wandering Earth project aims to save humanity by attaching jet thrusters to the Earth’s surface to push it out of harm’s way yet this safety measure has also had grave effects on the planet’s climate rendering the surface uninhabitable. 17 years previously, astronaut Liu Peiqiang (Wu Jing) left his 4-year-old son behind in the care of his father (Ng Man-tat) to take up a position on the space station intended to safeguard the Earth’s future. Now 21, Liu Qi (Qu Chuxiao) has grown up into a resentful, rebellious young man intent on seeing the surface for himself if only not to be home when Peiqiang finally returns to Earth. A natural disaster, however, leaves him stranded with his adopted teenage sister, Duoduo (Zhao Jinmai), just as the Earth is inconveniently drawn into a fatal collision course with Jupiter.

As much about fatherhood as it is about survival of a species, The Wandering Earth centres itself on the angry figure of Liu Qi who has been forced to live his entire adolescence underground and has come to deeply resent the memory of the father who allowed his sickly mother to die and then abandoned him. Peiqiang, meanwhile, has spent 17 years on the space station solely in order to save his son’s future, dreaming of the day they will finally be reunited. He cares little for his own life and has already spiritually handed the baton on to the next generation whose descendants, he hopes, may finally see a kinder sun rise over a new Earth.

This kind of selflessness is also reflected in the film’s refreshingly globalist outlook in which the world, no longer divided, has learned to act as one in order to combat the extreme threat from its own sun. The resistance may be China led, but depends on common endeavour and personal sacrifice. When a last ditch effort is required, the government cannot order its forces away from their families but can offer them the individual choice to keep fighting for survival, bringing teams from all corners of the Earth together as they descend on Indonesia where there just might be a one in a million chance to strike back at Jupiter and escape its gravitational pull.

Meanwhile, Peiqiang is up still up on the space station all alone and powerless while the annoyingly efficient operating system MOSS attempts to frustrate his efforts to save the Earth in service of its own mission to preserve humanity’s legacy. MOSS has made a series of calculations and given up, but giving up is not a very human trait and Peiqiang won’t do it. He makes impassioned speeches to the French-accented global authorities and ponders the best way to ensure his son’s survival even at the cost of his own but finally can only resist by literally attacking the system in overruling MOSS and acting on his own initiative.

A New Year tale through and through, The Wandering Earth is a celebration of family, togetherness, and home but is careful to dial down the patriotism for an insistence on the importance of mutual cooperation between peoples in order to combat existential threat with the spectre of climate change always on the horizon. The point, however, is that it is important to keep hope alive, if not for yourself then at least for others rather than give in to nihilistic despair. The Wandering Earth, grand and ambitious in scale, marks a new dawn of its own in terms of Chinese blockbuster sci-fi and does so with refreshing positivity as it places its hopes in human solidarity and individual sacrifice over jingoism and self-interest.


Currently available to stream on Netflix in the UK and possibly other territories.

Netflix trailer (English subtitles)