Fat Buddies (胖子行动队, Bao Bei’er, 2018)

Fat Buddies posterChinese cinema hasn’t exactly had the best record when it comes to dealing with atypical heroes, but then no cinema really has. Gazing at the poster for Fat Buddies (胖子行动队, Pàngzi Xíngdòng Duì) – the debut directorial feature from actor Bao Beier who also stars, one can’t help but assume the next two hours will be one long joke at the protagonists’ expense, but to its credit Fat Buddies is not (entirely) the film it seems to be and, ironically enough, there is more going on beneath the surface than an excuse to have at a “permissible” target.

The hero, played by Bao Beier himself, is a very rotund security guard currently working in a hospital in Tokyo for reasons which will (mostly) be explained later. Though Hao is a cheerful and friendly man with a strong sense of justice, he is ostracised by the (strangely large number of) other guards and has no real friends save his extraordinarily beautiful Japanese wife. Hao’s life changes forever one day when another large Chinese man calling himself “J” arrives at the hospital and causes a ruckus by trying to escape without paying. J convinces Hao that he is an international super spy on a top secret mission and that he needs Hao’s help to get out of the hospital so he can save the world. Believing he is finally being given the chance to become the agent of justice he’s always dreamed of being, Hao is only too eager to oblige.

Strangely enough, the entire film takes place in Tokyo even though the heroes and antagonists are all Chinese. Even so, it never resorts to the comedic caricatures common in recent mainland cinema when depicting the Japanese with even the police characterised as dedicated and efficient if sometimes a little overzealous and misguided, though one does wonder if the setting was chosen solely for the sumo associations of the grand finale. There is however a degree of bite in Hao’s view of himself as a non-Japanese person living in Japan who is married to a Japanese citizen and speaks the language fluently but still remains an outsider both because of his unusual appearance and because of his nationality (with a mild implication from some that perhaps the two things are not entirely unrelated). In an early set piece, Hao and J find themselves trying to infiltrate an upscale party where they have unwittingly stolen the clothes of a pair of famous dancers and eventually end up improvising a strange routine to a bawdy song which is all about being a “foreigner” in Japan who “doesn’t understand Japanese but loves Sora Aoi” and then continues in a similarly lowbrow vein with a mix of Mandarin, international English, and intentionally broken Japanese.

Rather than a two hour fat joke – though there are a fair few of those in a recurrent motif of J getting stuck in things Pooh-style and losing his trousers in the process, the the major message is that the pair are fine as they are and apart from the aforementioned problem, their size is not a barrier to being able to do anything they want including taking on international spy missions. Despite his happy marriage, Hao still suffers from loneliness and low self-esteem due to a lifetime of being looked down and on belittled, unable to make friends because of prevalent social stigma towards those on the heavier side. The solution, however, is not a makeover or a crash diet but a gradual process towards Hao regaining his sense of self worth and realising he has plenty to offer the world despite what anyone else might say. Similarly J, who experienced rapid weight gain after a life threatening injury and also suffers from narcolepsy, proves that he is still able to do his job even if he benefits from having a partner around when he randomly falls asleep at inopportune moments.

Fat Buddies isn’t claiming to be high art and there is certainly enough of the low humour the title implies to keep those enticed by the poster happy enough, but there is also genuine heart in its odd couple buddy comedy as the two similarly under-appreciated big guys bond in their shared desire to reclaim their sense of dignity and refuse to be shamed or belittled just because of their size (even if they are otherwise quite bumbling and inefficient in their mission). Strangely uplifting, Fat Buddies is an extremely silly comedy starring two men in fat suits repeatedly bumping into things but like its heroes refuses to be bound by stereotypical conventions and manages to make heartwarming drama out of its admittedly ridiculous premise. 


Fat Buddies is currently on limited release in UK Cinemas.

International trailer (English subtitles)

League of Gods (3D封神榜, Koan Hui & Vernie Yeung , 2016)

league of godsOften, people will try to convince of the merits of something or other by considerably over compensating for its faults. Therefore when you see a movie marketed as the X-ian version of X, starring just about everyone and with a budget bigger than the GDP of a small nation you should learn to be wary rather than impressed. If you’ve followed this very sage advice, you will fare better than this reviewer and not find yourself parked in front of a cinema screen for two hours of non-sensical European fantasy influenced epic adventure such as is League of Gods (3D封神榜, 3D Fēng Shén Bǎng).

Based on a classic Chinese text – the Ming Dynasty epic Investiture of the Gods by Xu Zhonglin, League of Gods begins with its despotic monarch, King Zhou (Tony Leung Ka-fei) and the story of how it was he came to lose his soul to Black Dragon and fall under spell of the nine-tailed fox, Daji (an underused Fan Bingbing). The couple have kidnapped Wizard Jiang (Jet Li), who may have been the only one with the knowledge to end their demonic rule – if it weren’t for the fact he’s subject to an anti-ageing curse and keeps regressing each time he uses his powers. Nevertheless, a group of warriors from Xiqi attempt to rescue Jiang and a group of orphan children who are also being held prisoner though their partial success leads them to undertake a new mission to find the Sword of Light which may finally help them to cut through the darkness and restore their kingdom to glory.

The primary bearer of this quest is Lei (Jacky Heung) who is second heir to the Wing Kingdom though also an embarrassment to his father because unlike his countrymen, he’s never been able to find his wings and fly like the rest of his brethren. Jiang entrusts him with three bags to help on his journey, one of which contains “magic grass” (ahem!) which is basically a healthier version of Clippy, the second a CGI baby version of once ruthless warrior, Naza, and the third a baby Merman who had his spine removed by Naza to stop him growing up and just wants to go home. Lei runs into automaton spy and tragic love interest Blue Butterfly (Angelababy) who does at least lend a degree of pathos to the proceedings and Louis Koo also turns up riding a giant panther, which is quite a ride, it has to be said.

The biggest problem facing League of Gods is one common to every fantasy film – that is, constructing a fantastical world which is still 100% internally consistent and completely believable throughout. League of Gods throws so much information out so quickly that it’s impossible to keep a handle on everything that’s going on, let alone try to work out how all of these various warring kingdoms fit together. There is a lot of story to go around, and directors Koan Hui and Vernie Yeung have recruited a host of China’s biggest stars to help tell it. This obviously means that some stars are appearing for mere minutes with barely anything to do save show their face, making an already bloated premise overloaded beyond any sustainable level.

Narrative excitement has largely been sidelined in favour of visual flair but League of Gods is constantly let down by poor quality CGI some of which might look more at home in a late ‘90s video game. League of Gods operates as a kind of hybrid movie, mixing heavy CGI animation with live action actors but can’t decide just how po-faced it really wants to be. Lei is accompanied on his quest by a fearsome warrior, Naza, apparently an arrogant and dangerous criminal who has been imprisoned in the body of a toddler. This CGI baby grins, burps, farts, and high kicks his way out of trouble in a decidedly bizarre fashion with his grown up language offered from a cute baby face. Naza is countered by his sometime enemy – an adorable Merman baby who just misses his dad but seems to have no other purpose so it’s a mystery why Jiang gave Lei this particular bag. Magic Grass is obviously an advisory figure, but is an apt way to try and explain what’s going on.

League of Gods moves from set piece to set piece with some muddled character development along the way as Lei finds love and develops his wings but never makes any kind of attempt at unifying its disparate plot strands. Squandering the talents of its extremely high level of A-list stars, League of Gods relies of campy fun to get by but is far too serious to make the most of its over the top potential. Disappointingly, after it’s intense build up League of Gods refuses to stage its finale – ending on a cliff hanger which is heralded by the most ridiculous evil laugh offered by a despot clutching a baby which is actually the regressed form of his rival and a formerly powerful wizard. It sounds good, but it isn’t. Read the small print, sign with caution.


US release trailer (English subtitles)

The Mermaid (美人鱼, Stephen Chow, 2016)

Mermaid

Stephen Chow unexpectedly became a mini phenomenon with that rarest of beasts – a foreign language comedy that proved a mainstream crossover hit, in the form of the double punch that was Kung Fu Hustle and Shaolin Soccer. However, his once ascendant star has been in retrograde ever since when it comes to screens outside of Asia. The surprise worldwide theatrical release of this latest film, The Mermaid (美人鱼, Mei Ren Yu), might be about to change all that.

Loosely inspired by The Little Mermaid, Chow paints a world of consumerism in overdrive as heartless capitalists fall over themselves to destroy the beauty of the natural world to buy even more flashy status symbols even though they only make them even more miserable. After opening with some newsreel footage of mass deforestation and a bloody dolphin massacre, Chow shows us the natural world exploited in a different way as a group of visitors visit an “exotic animal show” which includes such wonders as a live tiger (actually a pet dog with stripes painted on its fur), a “Batman” (with fried chicken for ears), and, crucially a “Mermaid” (a fried fish with a doll’s head on the top).

We’re then introduced to rich playboy businessman Liu Xuan (Deng Chao) who lives life large in a giant western style estate surrounded by gold digging dollybirds. He’s bought some “surprisingly well priced land” to use in a reclamation project, only the problem is it’s technically a nature reserve. His underlings have come up with a scheme to frighten away the wildlife with sonar devices so they can destroy the area of outstanding natural beauty in peace. However, they didn’t know about the colony of Merpeople hiding out there who have a serious problem with Liu and have dispatched one of their number, Shan (Jelly Lin), to assassinate him!

Predictably, the assassination plot does not all go to plan with often hilarious results. Like Chow’s other movies, the main spine of the narrative is a romantic comedy in which a foolish and arrogant man is made to realise his own weaknesses through finally noticing a woman he previously had no interest in. This time Shan turns up looking like a crazy lady with her bizarre makeup and fake mermaid outfit which gets her instantly thrown out of Liu’s place though she does succeed in giving him her phone number. Usually, Liu isn’t the type to call back but he gets goaded into it by mistake and then his henchman actually brings Shan to his office where she fails at assassinating him first with poison and then with sea urchins. By this time the course is set as the pair bond during their macabre meet-cute with Liu becoming attracted to Shan’s otherworldliness and she to the goodness that might be buried inside him.

Liu, it seems, experienced extreme poverty in his childhood and so now cares only about making money. Or says he does, his depressing solo karaoke dances to a hit pop song with the chorus “no one understands my loneliness” might tell a different story. Being super rich is actually kind of boring and everyone he meets only cares about his money so meeting Shan (who is predominantly interested in killing him) proves refreshing. Nevertheless, money also becomes an anchor dragging you down, even if Liu starts to come over to the Merpeople’s point of view (particularly after testing out those sonar devices on his own ears) his associates aren’t likely to agree.

It all goes a bit dark towards the end – wildlife massacres and kidnappings for “scientific research” which seems to include things like vivisection and live experimentation not to mention the intentional eradication of the entire living environment of these hitherto hidden creatures all the while preaching about scientific progress and a desire for understanding. Chow is many things but subtle has never been one of them so he lays his environmental message on with a trowel but the rest of the movie is so big anyway that he gets away with it (and in style).

Light and bright and colourful, The Mermaid is another characteristically madcap effort from Chow who packs in all the absurdist humour one could wish for plus a decent dose of sight gags and good old fashioned slapstick. It has to be said that the quality of the CGI (of which there is an awful lot in the film) is, on the whole, woeful, though somehow this just ends up adding to its charms as another facet of its self-effacing wackiness. A hilarious return to form from Chow who has been away for far too long, The Mermaid looks set to continue its enormous box office success by becoming one of the director’s most fondly remembered efforts.


The Mermaid is currently in UK cinemas but the distributors have gone down the Bollywood route of chasing the diaspora audience only (as RogerEbert.com discovered during the US release) and not engaging with the regular film press in any way, shape, or form. Therefore there has been almost no coverage of the cinema screenings in the non-Chinese media. Here’s a list of the surprisingly high number of UK cinemas screening the film courtesy of my friends at Eastern Kicks so check it out because it very likely could be playing at a cinema near you!