Wu Kong (悟空传, Derek Kwok, 2017)

Wu KongAs it stands, contemporary Chinese cinema is veering dangerously close to Monkey King fatigue. Stephen Chow brought his particular sensibilities to the classic Journey to the West before Donnie Yen put on a monkey suit for Cheang Pou-soi, both of which were quickly followed by sequels. Eddie Peng is the latest to pick up the staff for Gallants’ Derek Kwok, though this is a much more youthful incarnation of the iconic hero, acting as a kind of prequel to recent incarnations and as a coming of age tale for the titular “demon” as recounted in the popular online novel Legend of Wukong by Jin Hezai. Told in grand style, Kwok’s Wu Kong (悟空传, Kōng Zhuàn) is a star studded box office extravaganza but embraces both extremes of its family friendly, mainstream blockbuster thrills.

So, Sun Wu Kong (the Monkey King), as you know, was born from a stone atop Mount Huaguo  – a remnant of a giant who attempted to battle the heavens but was defeated. Heaven fears the existence of the mischievous demon and determines to destroy him but he’s saved by a teacher who gives him a human form and the name Sun Wu Kong. Devastated by the destruction of his homeland, Wu Kong (Eddie Peng) vows revenge on the Heavens and travels to voice his concerns in person. Resenting his “destiny” Wu Kong focusses his attentions on destroying the divine astrolabe which ascribes fate to all beings, but little does he know that its guardian, Hua Ji (Faye Yu), wants his heart for herself so that she might rule all of Heaven and Earth.

Kwok opens with a beautifully designed sequence modelled after traditional chinese ink paintings in which he recounts the pre-history and birth of the demon later known as Sun Wu Kong. Unlike some other recent attempts to tackle this famously fantastical world, Wu Kong boasts fabulously high production values as well as much better special effects than most Chinese blockbusters, and it helps that Eddie Peng is not burdened with spending the majority of the movie in prosthetics.

Nevertheless for all the lack of actual plot, there is a lot going on and the brisk pace of the exposition filled opening is hard to follow (but, thankfully, details are unimportant). As in his other adventures, Wu Kong ends up with a collection of friends and enemies including love interest Azi (Ni Ni) – the equally rebellious daughter of Hua Ji who has just returned from 100 years in “re-education” exile and fiercely resents her mother’s cruel and controlling nature. Likewise her half brother, Erlang (Shawn Yue) has also arrived home at just the right/wrong moment and is conflicted in his views towards the Heavens – wanting to be accepted as a true “immortal” but also wanting to protect his little sister, so obviously unhappy with the ruling regime. Two more cohorts appear in the gadget laden Juan Lian (Qiao Shan) – a kind hearted man with a hopeless crush on Azi, and the lovelorn retainer, Tian Peng (Oho Ou), still pining after his childhood sweetheart who was exiled to the mortal world.

Much of the central drama occurs after Wu Kong, Erlang, and Tian Peng destroy “The Bridge of Destiny” and are cast down to the mortal world themselves along with Juan Lian and Azi. Finding themselves in a desperate village which happens to be on the former site of Mount Huaguo, the five start to believe they’ll never be going home and discuss staying to help the villagers defeat the “Cloud Demon” which has been stealing all their water. Interacting with the villagers teachers each of them some vaiuable lessons, but “destiny” is still waiting, and trying to change the fate of these desperate people may have disastrous, unforeseen consequences.

Once again, Wu Kong’s battle lies in the Heavens and may end up costing more than it gains. Kwok’s direction is conventional in one sense, but also manages to add a youthful energy which befits the film’s message. Wu Kong’s rebellion is the same as many a young a man – against a pre-ordained fate. As he puts it in the punkish final title cards, he will not be blinded by the sky or bound by the Earth – he will decide his own destiny and will never submit himself to the authority of any god or Earthly power. Attempts at melodrama largely fall flat, as does the unwise decision to shift to fantasy sequences for moments of high emotion, not to mention the inclusion of a sappy pop song to really ram home the theme of tragic romance, but whatever Wu Kong’s failings it succeeds brilliantly in its primary objective as an admittedly vacuous summer blockbuster primed to speak to the hearts of hemmed in teens everywhere.


Currently on UK release at selected cinemas.

Original trailer (Mandarin with English/simplified Chinese subtitles)

Love Off the Cuff (春嬌救志明, Pang Ho-cheung, 2017)

love off the cuff posterJimmy and Cherie, against all the odds, are still together and in a happy longterm relationship in the third addition to Pang Ho-cheung’s series of charming romantic comedies, Love off the Cuff (春嬌救志明). Following the dramatic declaration at the end of Love in the Buff, the pair have continued to grow into each other embracing each of their respective faults but after all this time Jimmy and Cherie have to make another decision – stay together forever or call it quits for good.

The major drama this time around occurs with the looming spectre of parenthood as Cherie’s long absent father and Jimmy’s “godmother” suddenly arrive to place undue strain on the couple’s relationship. These unexpected twin arrivals do their best to push Cherie’s buttons as she’s forced to re-examine her father’s part in her life (or lack of it) and how he may or may not be reflected in her choice of Jimmy, whilst Jimmy’s Canadian “godmother” makes a request of him in that he be the father of her child. Jimmy, a self confessed child himself, does not want anything to with this request but is too cowardly to hurt the feelings of a childhood friend and is hoping Cherie will do it for him. Cherie is wise to his game and doesn’t want to be trotted out as his old battle axe of a spouse but at 40 years of age children is one of the things she needs to make a decision on, another being whether she wants them with Jimmy.

Cherie’s father was an unhappy womaniser who eventually abandoned the family and has had little to do with any of them ever since. In his sudden return he brings great news! He’s getting married, to a woman much younger than Cherie. Building on the extreme insecurities and trust issues Cherie has displayed throughout the series, her faith in Jimmy crumbles especially after she intercepts some interestingly worded (yet totally innocent) text messages on his phone which turn out to relate to an unfortunate incident with their dog. Jimmy’s reliability continues to be one of his weaker elements as the behaviour he sees as pragmatic often strikes Cherie as self-centered or insensitive. Things come to a head during a disastrous getaway to Taipei in which the couple are caught in an earthquake. Cherie freezes and cowers by the door while Jimmy ties to guide her to safety but his efforts leave her feeling as if he will never value anything more than he does himself.

Moving away from the gentle whimsy of Love in a Puff, Cuff veers towards the surreal as the pair end up in ever stranger, yet familiar, adventures including a UFO spotting session which goes horribly wrong landing them with community service and accidental internet fame. A real life alien encounter becomes the catalyst for the couple’s eventual romantic destiny as does another of Jimmy’s grand gestures enlisting the efforts of Cherie’s father to help him win back his true love. Cherie’s troupe of loyal girlfriends even indulge in some top quality song and dance moves in an effort to cheer her up when it’s looking like she’s hit rock bottom though, improbably enough, it’s Yatterman who eventually saves the day.

Supporting cast is less disparate this time around relying heavily on Cherie’s dad and Jimmy’s godmother but Cherie’s friends get their fare share of screentime even if Jimmy’s seem to fade into the background. Cherie never seems to notice but one of her friends is in love with her and is not invested in her relationship with Jimmy, constantly trying to get her to come away on vacation to a nostalgic childhood destination, but most of the girls seem to be in the dump camp anyhow loyally making sure Cherie thinks as little about Jimmy as is possible lest she eventually go back to him.

Trolling the audience once again with the lengthiest of his horror movie openings (so long you might wonder if you’ve wandered into the wrong screen), Pang begins as he means to go on, mixing whimsical everyday moments of hilarity with surreal set pieces. It’s clear both Jimmy and Cherie have grown throughout the series – no longer does Jimmy skip out on family dinners with Cherie’s mother and brother but patiently helps his (future?) mother-in-law figure out her smartphone as well as becoming something like her errant father’s wingman. Things wrap up in the predictable fashion but it does leave us primed for the inevitable sequel – Love up the Duff? Could be, it’s the next logical step after all.


Love off the Cuff was screened at the 19th Udine Far East Film Festival.

Original trailer (Cantonese with Traditional Chinese/English subtitles)

Love in the Buff (春嬌與志明, Pang Ho-cheung, 2012)

love in the buff poster2010’s Love in a Puff was a delightfully low-key, slow burn romance in which two lonely smokers found each other over a back ally rubbish drum and a series of aimless text-based and ambulatory conversations. Jimmy and Cherie were both so diffident, fearful, and emotionally restrained that their grand love affair ended on a positive if ambiguous note, promising only to continue in forward motion. Where is there to go in a sequel? The same place again, apparently. Or, more precisely, Beijing.

So, Jimmy (Shawn Yue) and Cherie (Miriam Yeung) have found true love, moved in together and are very happy. Except, Jimmy is still Jimmy and Cherie is still Cherie and so there are problems. Things come to a head when Jimmy forgets a dinner arrangement with Cherie’s family, invites her to a beach party that turns out to be a work engagement, and then unwisely tries to win an argument by “reminding” her who plays the bills. Unsurprisingly, when Jimmy returns home Cherie has gone back to her mother’s. Jimmy takes a job in Beijing and starts dating an air hostess only for Cherie to also get an unexpected transfer to the mainland capital.

More or less following the pattern of the first film but with the roles of the protagonists reversed, Jimmy and Cherie find themselves falling back into the same old routine as they’re marooned in an unfamiliar city. Jimmy, still immature and self-centred, may have started an accidental relationship with a stewardess his friend intended to molest on an aeroplane, but it’s essentially superficial (at least from his side) and once again he finds himself texting Cherie whilst bored with his girlfriend’s elegant friend set. Cherie, not over Jimmy (much as she’d like to be) and perhaps regretting her over hasty grand gesture, begins a tentative relationship with a sensitive millionaire, Sam (Xu Zheng), whose only defects seem to be an old-fashioned idea of chivalry and the fact that he is extremely bald.

Despite Sam’s obvious goodness, Cherie can’t let Jimmy go and is ultimately disappointed to find that some of his childish strangeness has rubbed off on her – in fact, the very qualities which Sam finds attractive are ones she associates with Jimmy. Back to sneaking around, bickering, and exchanging cryptic text messages the pair are left to wonder if anything has really changed. The problems are exactly the same – neither one is willing to trust the other enough to make a real go of things. Cherie, still a little over sensitive about the (very small) age difference between herself and Jimmy as well as her ticking clock, resents being made to feel like the old ball and chain when Jimmy plays the coward in lying to her to go out drinking with friends. Jimmy still fears confrontation too much talk to Cherie in a straightforward way and so they’re locked in continuing cycles of passive aggressive drama.

Once again Jimmy and Cherie are the main draw though their friends take on a slightly larger role. Eunuch (Roy Szeto) remains Jimmy’s worst enabler as he urges him to make a series of bad decisions in making a life in the mainland capital, though there is a potential happy ending for Cherie’s “plain” friend Brenda (June Lam) whose lack of looks was the butt of such mean-spirited humour in the first film. Transposing the action to Beijing Pang takes another look at modern love with its marriage markets full of old women sitting in parks with signs selling the virtues of their sons not to mention the terrible blind dates but even if the actions of the central couple lean towards the sordid as they re-engage in accidental adultery, the romance is always gentle, innocent, and sincere. Jimmy and Cherie bonded in a puff, but now they have to learn to love each other “in the buff”, warts and all or call it quits.

Pang wisely drops the documentary conceit though maintains the laid-back aesthetic and whimsical music as the ballad of Jimmy and Cherie continues. The various cameo appearances threaten to derail the low-key style of the drama but once again Pang manages to capture something youthful, fresh, and heartfelt even if not moving very much beyond the original.


Original trailer (Cantonese with traditional Chinese/English subtitles)

Love in a Puff (志明與春嬌, Pang Ho-cheung, 2010)

love in a puffSmokers. Is there a more maligned, ostracised group in the modern world? Considering the rapid pace at which their “harmless” pastime has become unacceptable, you can understand why they might feel particularly put out – literally, as they find themselves taking refuge in designated smoking areas or perhaps back allies where it seems no one’s looking. For all the nostalgia about how easy it was to strike up a friendship with a stranger just by asking for a light, it is also important to remember that smoking is not so “harmless” after all and there are reasons why smokers are asked to keep their activities amongst those who’ve also decided to ignore the warnings. The Smoking Ordinance, oddly enough, may have accidentally boosted the social potential of a smoke as those eager for a puff are given additional reasons to spend time together in an enclosed space, building a sense of community through nicotine addiction.

Pang Ho-cheung’s landmark romantic comedy Love in a Puff (志明與春嬌) takes this idea to its natural conclusion as recently dumped ad exec Jimmy (Shawn Yue) and trapped in a going nowhere relationship cosmetics girl Cherie (Miriam Yeung) begin to bond over a cigarette or two taken in a back ally near Jimmy’s office. Actually, Cherie doesn’t event work here, she’s wandered over and found a collection of kindred spirits whilst trying to avoid being spotted by her boss who thinks smoking is bad for your skin (not great when you’re supposed to be a walking advert for the makeup you’re pushing). Whilst the other guys and girls gossip about Jimmy’s great failed romance – his girlfriend cheated on him with and then left him for a Frenchman who has a better job in the company, Cherie listens patiently even though she’s clearly outside of this tight social circle. For Jimmy, this might be just what he needs – a breath of fresh (well, differently perfumed) air that has almost nothing to do with his current circle of work based friends.

Nothing in particular happens but the pair grow closer as they both attempt to escape the less satisfying elements of their lives. Relying on text messages delivered in a mix of text speak English and Chinese, Jimmy and Cherie message each other when they get bored – he eating hot pot with colleagues, she trapped at a fancy dress karaoke party, getting together to waste time but each unwilling to consider what any of this means. Eventually Cherie decides to make a real decision, but predictably enough, Jimmy freaks out and jumps on the brakes only to realise his hasty reaction might have been mistaken.

The tone is light and playful as Pang trolls the audience by beginning as a horror movie complete with dripping blood credits and scary music. The sequence turns out to be just one of the silly stories they gang entertain each other with during their cigarette breaks – in fact this one is a staple of Indian pizza delivery boy Bitta who tells it every time a new girl shows up. The grisly opening sequence even makes a fun return as Jimmy uses it to prank Cherie bringing them closer together whilst also highlighting his boyish, irreverent character. These same qualities which help Jimmy get through to Cherie may also be among the reasons his previous girlfriend ended the relationship, becoming bored with his familiar antics such as his strange love of buying ice-cream in a convenience store solely for the dry ice which likes to put in the toilet to enjoy the incongruous smoke effects.

Laid-back in style, Pang allows the back and forth between the leads to take centre stage whilst peppering the edges with a collection of background details about their friends and social lives. Cutting to a series of direct to camera documentary-style interviews, Pang adds a layer of commentary about modern love and relationships which extends right into the end credits with a hopeful man’s strange story about a girlfriend’s dog, all of which has the ring of authenticity even if occasionally mean-spirited as in its mocking of a plain girl stood up by an online date deceived by her overly flattering profile picture.

Love comes creeping and Jimmy and Cherie dance around each other, unable to speak plainly but occasionally moving forward through grand gestures. Each assuring the other they’re “in no hurry”, the great gateway to future happiness appears not with the traditional declaration of love but the “simple and straightforward” “I miss you”. Surprisingly cute and innocent for a Cat III comedy, Love in a Puff is an inconsequential tale of love blossoming in smokey city backstreets between a girl who’s tired of waiting and a guy who doesn’t know where he’s going but together they might just be able to figure it all out.


Love in a Puff was screened at the 19th Udine Far East Film Festival.

Original trailer (Cantonese with English/Traditional Chinese subtitles)

Lacuna (醉后一夜, Derek Tsang & Jimmy Wan, 2012)

lacunaWaking up in a strange place with absolutely no recollection of how you got there is bad enough. Waking up next to a total stranger is another degree of awkward. Waking up not in someone else’s apartment but in a department store furniture showroom is another kind of problem entirely (let’s hope the CCTV cameras were on the blink, eh?). This improbable situation is exactly what has befallen two lonely Beijinger’s in Derek Tsang and Jimmy Wan’s elegantly constructed romantic comedy meets procedural, Lacuna (醉后一夜, Zuì Hòu Yīyè). An extreme number of unexpected events is required to bring these two perfectly matched souls together, but the love gods were smiling on this particular night and, once the booze has worn off, romance looks set to bloom .

Shen Wei (Shawn Yue) and Tong Xin (Zhang Jingchu) wake up undressed and with their arms around each other, but with no recollection of what exactly led them to this position. Awkwardly dressing and getting ready to part ways as quickly as possible, the pair are stunned to realise they’re trapped in a department store. Things get weirder when Shen Wei gets back to his hotel room to find it full of passed out revellers before arriving at work where his co-workers have a lot of questions about the previous night’s activities which seem to have been live blogged on the Weibo account of a well known actress.

Meanwhile, Tong Xin has returned home to feed her cat, but remembers she was carrying a large amount of money that her boss wanted her to give to a woman in a bar, and she can’t remember what happened to it. Shen Wei has also forgotten where he parked his car but a more serious problem occurs when he’s contacted by the police who are very keen for both Shen Wei and his “girlfriend” to come and pick up the “pet” they were so keen to find the night before. Luckily Tong Xin’s Weibo account is linked on the photos so he manages to get in touch with her in the hope that she can help him figure out what on earth happened last night.

Rom-coms thrive on coincidences, but luckily for Shen Wei and Tong Xin, the stars have aligned to allow them to find each other in midst of the busy Beijing nightlife despite the fact that neither of them seem the type to be particular frequenters of it. Both are, in different ways, a little lost. Shen Wei is a mild mannered Hong Konger slightly adrift in the mainland capital, whereas Tong Xin has just gone through a (seemingly amicable but perhaps painful) breakup and is also at a crisis point in her unsatisfying career which has her playing errand girl to a hack director with a scandal hanging over his head in the form of a affair gone sour with the aforementioned Weibo-ing actress – Qiqi (Mia Yam).

An anonymous night of passion is an out of character surprise for both of these otherwise straight laced, serious minded city dwellers. Both hugely embarrassed and a little bit stunned, reconnecting was never a likely prospect. Forced to get together to try and figure out their respective problems resulting from the previous night’s activities, the pair get the chance to relive their initial whirlwind romance, perhaps leading to something deeper and more substantial than just a mad one night stand. Gradually piecing together the details including random lamas and licking bull frogs with gangsters, it’s clear the pair have shared a very strange night together though its conclusion in a romantic “dream” apartment helped to showcase bashful Shen Wei’s romantic side and if all of this really does go somewhere they’ll have a heck of a story to tell the grandkids.

The “lacuna” in the their memories wasn’t the only thing missing in their lives, though it has helped each to perhaps find something to plug some of those empty spaces. Both Shen Wei and Tong Xin are left looking for something literal, but also seeking something less tangible which may have just found them thanks to the improbable coincidence of both “enjoying” an out of character night of heavy drinking, brought together by their mutual inability to hold their drink. Elegantly photographed with its series of disparate locations from upscale nightclubs to grungy dive bars and dusty construction sites, Lacuna’s whimsical approach somehow makes all of this craziness seem perfectly plausible adding to the sweet and heartfelt tone and restoring faith in playful, genuine romance even in a busy and increasingly disconnected capital.


Original trailer (no subtitles)