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)

The Ex-Files 4: Marriage Plan (前任4:英年早婚, Tian Yusheng, 2023)

Why do people get married? In the fourth instalment of the popular Ex-Files rom-com franchise,The Ex-Files 4: Marriage Plan (前任4:英年早婚, qiánrèn 4: yīngnián zǎohūn) the guys are beginning to feel their age and settling down is now it seems on the cards but for Meng Yun (Han Geng) at least it’s not so simple despite receiving some unexpected medical news that undermines his sense of youth and masculinity. As a single urbanite, he’s become set in his ways and used to living alone while haunted by the spectres of old love and missed opportunities. 

Yu Fei (Zheng Kai) meanwhile has been somewhat bamboozled into proposing to his slightly younger girlfriend of three years Ding Dian (Zeng Mengxue) who is herself on the fence about the idea of marriage. The couple end up opting for what they describe as a “marriage cooling off period” but is really just a trial run while they figure out if they can actually live together. To begin with it’s more difficult than expected as both struggle to transition from “dating” to “settled”, each on their best behaviour at home and engaged in a constant game of oneupmanship over household chores trying to prove how considerate they are to each other which is as they begin to realise exhausting. But deciding to just be themselves doesn’t quite work either as they quickly descend into slobbishness with no one taking care of domestic tasks each assuming it’s the other’s responsibility.

To try and work out their differences they come up with a solution that’s both very mature and not in turning their family meetings into drinking games in which the person who recognises they’re in the wrong has to take a shot. The kinds of things they argue about are the usual points of tension like leaving the cap off the toothpaste or waiting too long to wash your smalls, though before long more serious cracks start to appear such as in their different approaches to money management with Ding Dian keen to set up a household joint account and Yu Wei resentful of what he sees as an intrusion into his financial freedom in order to force him to be more responsible about his spending. 

It’s this idea of “freedom” that seems to be keeping the guys from settling down, but as someone later says to Meng Yun it might be his desire for “freedom” that’s holding him back. An ageing Casanova, Meng Yun is hounded by his mother about getting married while otherwise lamenting his descent into solitude and acknowledging that he may now be so afraid of a return to loneliness following a breakup or else a change in his routine that he’s losing interest in starting new relationships which is one reason he’s badgered into blind dates with women looking to get married. He’s not sure if marriage really is the “tomb of love” as some describe it, but can’t see what the point is or why it’s any different to being in a longterm committed relationship without a certificate to prove it. 

In many ways his battle is with looming middle age as he begins to wonder if he’s too old to change his ways and if solitude is what he’s choosing for the rest of his life, while Yu Wei conversely wrestles with the demands of adult responsibility in learning to accept a little more give and take in his life. The film flirts with the idea that Meng Yun may get back together with one of his many exes, in particular Lin Jia (Kelly Yu Wenwen) who seems to be the one that got away, but refreshingly falls back on the idea that some things aren’t meant to last and it’s better to let them go. Meanwhile, Meng Yun is himself a little sexist and chauvinistic in his dealings with his many blind dates, failing to consider the woman he’s talking to may be a doctor rather than a patient rushing out to meet him after undergoing major surgery and hurt after being rejected out of hand for his educational background and financial profile despite doing more or less the same thing himself scrolling past women who don’t match his ideals. 

Both men are in many ways selfish and immature, but also becoming more aware of their flaws and on opposite sides of the fence when it comes to the possibility of change. Despite having met a potential soulmate in philosophical lawyer Liu Liu, Meng Yun can’t decide if it’s worth the risk of abandoning his solitude or if he’ll ever be able to give up the ghost of lost love and open himself to a greater emotional intimacy. A little more melancholy than previous instalments, the film ponders urban loneliness and the trade-offs involved in a life of “freedom” while leaving the door ajar for middle-aged love in the life of the increasingly lovelorn Meng Yun. 


The Ex-Files 4: Marriage Plan is currently previewing in UK cinemas ahead of a 6th October opening courtesy of CineAsia.

International 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)