Simply A Masterpiece

People are voting emotionally.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

This is a dark and sometimes deeply uncomfortable drama

Tsui Hark movies are always a mixed bag for me. The Vietnamese New Wave director created visually stunning, profoundly philosophical and mostly historically inspired movies like the ''A Chinese Ghost Story'' and ''Once Upon a Time in China'' movie series in his early years that any movie fan should know. In recent years, he rather focused on commercially entertaining, effect-ridden and overall meaningless films such as ''Detective Dee and the Mystery of the Phantom Flame'' and ''The Flying Swords of Dragon Gate''. The latter movies weren't entirely bad but they weren't on the same artistic, authentic and intellectual level as his early classics. ''The Taking of Tiger Mountain'' is situated somewhere in between both categories but probably closer to the second group than to the first.On the positive side, the movie is partially historically inspired even though the film isn't devoid of a certain propagandistic approach that presents the People's Liberation Army in a much too positive way. The movie basically tells the story of a small group within this army that needs to outsmart a large group of bandits that are raiding villages in the northern parts of the fragile country. The settings of the movie are truly spectacular. The costumes, the villages and even the way the actors speak are truly accurate and trace your way back seventy years in time. Most of the story is set in elegant winter landscapes and one gets to see breathtaking valleys and mountains, simple but charming skiing exercises and even a couple of animals such as the tiger that attacks the protagonist halfway through the movie. In comparison with Tsui Hark's other recent movies, especially the first half of the film feels refreshingly authentic, natural and realistic and only a few effects are used in an efficient way. Towards the climax of the story, more and more special effects are used but they somehow add to the action and tension of the film and don't feel randomly inserted as in many of his other recent films. The action choreographies are stunning and the best example for these intense passages is the battle in the raided village which takes place towards the last third of the movie. While the acting itself is not outstanding, it definitely has more depth than characters in Tsui Hark's more recent films and one can feel some empathy with the smart and mysterious protagonist, the emotional and lonely child or the optimistic female combat medic.On the negative side, the main villain remains superficial and even ridiculous at certain moments. The short moments of humour when he speaks nonsense or exaggeration when he gestures in theatrical manner feel out of place and unnecessarily decrease the intensity of the movie. The special effects get a little bit exaggerated in the final twenty minutes or so of the movie and contrast the initially authentic magic of the movie that turns into something which isn't a far call from a meaningless Hollywood action flick. The story itself is also a little bit too simple, predictable and one-sided. Another element which I disliked is how the movie was forcedly connected to some random Chinese emigrant living in New York City who can't let go of his culture, family and past instead of trying to become accurately integrated in a foreign country. I feel that this connection to our contemporary world didn't add anything at all to the movie even if the director probably intended to prove that the value of this story based on Qu Bo's novel of the same name from 1957 has been firmly planted in the Chinese national consciousness for more than half a century.In the end, the numerous positive elements are much more impressive and present than the few negative facts which can be seen as secondary. Tsui Hark somewhat redeems himself after a series of rather shallow flicks that were only aiming for commercial success, modern special effects and simple entertainment. This movie has more depth concerning the characters, magic settings and at least some kind of moral at certain points in the story. This movie still isn't on the same level as Tsui Hark's earliest successes but fans of historically inspired contemporary Chinese action movies can't go wrong with this movie and should therefore give this film a chance.

About a 2D viewing.This is very clearly produced under Party sponsorship to celebrate the soldiers who won the country. The contrast with US WWII films is striking. We require tough heroes, where here there is something more noble. Two remarkable things... The film has an odd framing device that one can only imagine was dreamed up by a Party official. A modern Chinese youngster is off to Silicon Valley as a sort of genius. He watches on an iPhone an old movie of this event, apparently staged by the Peking Opera. In between, we have this film. At the end, we discover that he owes his existence to this and by implication his education and opportunity. The time is set right after the collapse of the Japanese occupation. Warlords have seized the armaments and sustenance and for the People's Republic to succeed, ragtag groups must prevail. (No mention of the official government.)The strange thing is that though produced by Chinese, it is thoroughly Japanese. Kurosawan to be precise. The filmmaker remarks on this in a fun way: the movie is over, having presented the 'real' story. Then our young modern kid imagines an alternative ending, and it is thoroughly Indiana Jones. Incidentally, the stunts and effects are pretty ordinary except for a sequence with a tiger. This was amazing. Had to be real.

Taking Tiger Mountain by Strategy 3D directed by Tsui Hark has been released in mainland long ago, while it is going to be released in Hong Kong on May14th.Reproducing a model opera of the Cultural Revolution, the skilled are bold.The movie began with "New York 2015" and I supposed I had come to the wrong cinema. It turns out that it had something to do with Tsui Hark's affection, that he first got to know the Beijing opera Taking Tiger Mountain by Strategy in New York, therefore, the movie is arranged with some foreign citizens of Chinese origin singing karaoke and the television mistakenly showed Taking Tiger Mountain by Strategy, on the screen a person asked contemptuously, "What's that?" Actually, the movie had been playing nice. If it comes into reality, the person must have yelled out loudly.Tsui Hark was very clear about this of course, so I was wondering how he would reverse negative impression of those people (exactly we audiences) on Taking Tiger Mountain by Strategy—strong political complexion,old-fashion and out of date.Tsui Hark chose 3D.But 3D is not a panacea. Ring 3D in Japan suffered a crushing failure.Bullet passing through slowly and stop in a moment, then the scene circling back have been applied in Matrix in 1999. The 3D of Taking Tiger Mountain by Strategy would not make any better. When ravens were flying over indoors, I could not help laughing out, for it was too similar to the owls in Harry Porter series.By the way, I could not recognize Tony Leung who acted as a bandit "Hawk". But wearing a fake nose is actually again a copy from Nicole Kidman in The Hours.In the end, I found it was only my own wishful thinking that Taking Tiger Mountain by Strategy 3D would make a breakthrough apart from 3D. I can accept the protagonist is National Liberation Army and the dialogues are full of northeast dialect, but I cannot accept the movie "sticks to the original" to consecrate characters to serve politics. On the side of the protagonist, even girls and little children were loyal and courageous, having excellent marksmanship and extraordinary skills. They could catch a bandit standing guard on high by throwing up a rope; and the protagonist could fly to a snow mountain of thousands meter high by a rope.It is really not worshiping and having blind faith in foreign things. James Bond has extraordinary skills, but he can manages to make the impossible possible, to make me believe, make me stop querying and engage to movie world. Furthermore, though he has extraordinary skills, James Bond has his weakness, which makes him more human.

Every December, in the China mainland, is the protective month for Chinese productions in local multiplexes, practically all the foreign tent-poles are pushed back and it is also the most profitable period for this vastly booming market. This year, the two main contenders are GONE WITH THE BULLETS (2014), Wen Jiang's much-hyped follow-up to the massively successful LET THE BULLETS FLY (2010, 8/10) and this Hark Tsui's latest offer of a 3D spectacle retelling a legendary battle during the period of Chinese Civil war. Nevertheless the former receives some unexpected backlash from critics and audience, which prompts me to pick the latter, plus I am bringing my parents, who will feel more related to the story since they know the original tale very well. Much exceeding my expectation, this is by far the most amazing 3D Chinese film I have ever watched in the theater, breathtakingly sets out the vast North East snowfield where the story unfolds, without compromising the luminance of the screen. Despite that the film starts with a modern-day prologue in New York, which inconveniently enforces a weird sense of incongruity with the main event, the first impression is pretty awesome, however, this subplot will continue to distract viewers out of the picture every so often and largely banks on heart-throb Gen Han's presence. The story takes place in 1947, a Communist detachment named 203 lead by Jianbo (Kenny Lin) fights against the bandit chieftain Cinereous Vulture (Leung), who takes over the Tiger Mountain with his eight warriors and thousands of bandits, plus heavy arms left by Japanese after the Anti-Japanese War (1937-1945), including artilleries, cannons and a tank. Hogging the vantage point, they constantly attacks the villages nearby and becomes a major threat in the turf. Whereas the detachment has only 30 soldiers altogether with much lighter weaponry. There is only one way to win this battle against heavy odds, to circumvent the head-on confrontation and outwit the enemy by an audacious sneak attack. So Zirong Yang (Hanyu Zhang), a singular soldier, proposes an undercover scheme, he volunteers to infiltrate into the gang and look for a weak link in their defense system, so they can capture them all at one swoop. The mission is an adventurous one full of pitfalls and any small slip will cost Yang's life, Hanyu Zhang embodies this lone hero bravura with enthralling excitement and poise, confidently delivers bandit's cant and liberates his masculine charisma as a military man. Hong Kong veteran Tony Ka Fai Leung, almost unrecognizable here as the villain, easily stands out with his flashy and distinctive outfits, so is his eight warriors, all have been upgraded with eye-popping apparel and apparatuses. By contrast, the Communist soldiers are far more plain and conventional. Kenny Lin outstrips his youthful greenness, strenuously leaves an impression of being mature and serious. With six screenwriters credited, they enrich the film with adequate suspense, sporadic humor, the routine sacrifice and female presence (e.g. Nan Yu owns her dramatic outburst in a crudely sketched characterization). Hark Tsui has ventured into 3D technology since two DETECTIVE DEE films and the dismaying FLYING SWORDS OF DRAGON GATE (2011, 3/10), so finally he reaches the benchmark with this one, along with the dashing bullets and grenades slo-motion, he also schemes a prolonged alternative ending after the credits, just to show that now the industrial special effects craftsmanship is no interior compared with the Hollywood criterion. One can grudge about the final coup de main is way too easy to accomplish, but for anyone who is familiar with the current status of Chinese cinema, it is a good relief we can dish up such an entertaining blockbuster independently, and its box-office prospect is quite promising too, a sure-fire to reach a career-high for the maestro Hark after 35 years in the line.