In my short time of compulsively watching as many films as I do, and even shorter time of reviewing them for public consumption, I feel I have covered a wide spectrum of films in that time that I have given a wide spectrum of reactions to. However, no matter what film I looked at, no matter how out-of-my-depth I may have been concerning the genre, country of origin or subject matter, I always prided myself on being able to articulate exactly why I felt the way I did about each one of them. Sure, I’ve had films that were difficult for me to pin down: Birdman took me a while to really collect my thoughts about, 12 Years A Slave had me hesitating because of peer pressure and how much the rest of the world seemed to love it and God’s Not Dead had to be severely edited from the reams of notes I wrote on it so as to not piss off every religious group under the sun, or rather out of paranoia that that would happen. Today, however, I think I have found a film to top them all in that regard.
The plot: Zhong Kui (Chen Kun) is a demon hunter under the tutelage of the deity Zhang Daoxian (Winston Chao). He is tasked by Zhang to steal the Dark Crystal, the receptacle for all the souls taken by demons, from Hell and the Demon King tasks Snow Girl (Li Bingbing) and a group of seductive female demons to get it back from the city of Hu where it is now being kept. As the two sides clash, an epic battle begins that will decide the fate of Earth, Heaven and Hell.
The first thing that comes to mind when bringing up this
film, and indeed the first thing that most audience members will notice, is the
CGI on display here. Put simply, it looks like it was all pulled straight out
of sixth-generation games that should be on the PS3 or Xbox 360; it’s at that
weird midway point where it looks fine, but it is still quite obviously CGI.
Another midway point the CGI work exists in, at least when it comes to Zhong
Kui’s demonic form is, one that has become the land most dare not tread: The
midway point between realistic and fake that is the uncanny valley. The motion
capture, particularly for the face, is unnerving like only uncanny valley
dwellers can manage. Snow Girl’s demonic form has this but to a far lesser
extent since the character design for her looks more humanoid than strictly
human. Zhong Kui, on the other hand, looks like a more defined version of the
Dark Prince from Prince Of Persia: The Two Thrones, right down to a remarkably
similar looking weapon; it may look good in the game, but it looks surprisingly out
of place in a live-action film.
This video game aesthetic extends beyond the effects and
even gets into the action scenes as well: aside from one or two set pieces, the
action beats are entirely done in CGI with a few real sets here and there. They
are extremely lame as a result, all looking floaty and too overblown to really
get invested in. The only time when I actually found myself properly getting
into a fight scene was near the end when Zhang finally got a chance to fight
that didn’t involve him poofing into clouds of gold dust the entire time.
Unfortunately, that was only because the green screen work on him was hideous. I’ve
ranted at length about bad screening before, with movies like The Legend Of
Hercules and I, Frankenstein, but this doesn’t so much take the biscuit as much
as it holds Arnott’s hostage for its recipes. Every shot with Winston Chao
on-screen during that fight looks like the 21st century’s answer to
the rear-projecting in Puma Man; seriously, it looks that bad. My jaw visibly dropped and hung low while watching this
scene, easily the biggest reaction it managed to get out of me for its
duration.
As a means of clawing my way out of the mire of negativity
this film has thrown me into, I find myself looking back on the musical score
with a lot of fondness. Composer Javier Navarrete, whom I mainly remember for creating
the achingly beautiful music for Pan’s Labyrinth, brings some of his best for
this film with a great mixture of soaring and delicate orchestration that add a
lot of oomph to their accompanying scenes. This film’s main showcase for why
this soundtrack is as good as it is is during the dancing sequence where Snow
Girl and her troupe are performing; the instrumentation and rather angelic
singing combine with the graceful movements of the dancers to create something
genuinely beautiful to watch. However, this film is unfortunately another in a
long list of lackluster films that Navarrete has worked on, continuing the
tradition of his music being one of the best parts of their respective films,
if not the best.
And now we reach the elephant in the room:
Thanks to this film, Winter’s Tale has a competitor for the most
incomprehensible film I’ve seen since I started criticising films as much as I
do these days. Not to say that this film is as pants-on-head stupid as Winter’s
Tale was, but they both share a similar problem in that there is a rather large
amount of the plot that isn’t explained properly. I mentioned how this film
feels like it took a lot of inspiration from the video game medium and that
extends to the basic plot, right down to the mentor heel-turn that has become a
cliché for many, many years at this point. Although, to be fair, the scene
detailing said heel-turn is one of the other big highlights for the film as
Chao and Kun’s blocking make for a very engaging scene, even if the details
surrounding it are embarrassingly disjointed.
There is a very specific sensation to describe how the script for this comes across: it’s as if the six writers behind the script (too many cooks and all that) originally wrote it as a trilogy of films, then decided to condense it down to a single film by taking miscellaneous pages from all three and mashing them together, inexplicably ending on where the first film would have ended just in case. The biggest, or rather the most obvious, offender on these grounds is the romantic subplot between Zhong and Snow Girl. Their relationship is primarily developed through flashbacks that look like recaps of a previous non-existent film, leading to a lot of fruitless searching online for a predecessor film to this one, and even then the subplot as a whole takes a backseat to the aforementioned weaksauce action scenes. It’s less like a drive-by romance and more like a back-alley-stabbing romance, where there isn’t even a chance of seeing where it came from.
There is a very specific sensation to describe how the script for this comes across: it’s as if the six writers behind the script (too many cooks and all that) originally wrote it as a trilogy of films, then decided to condense it down to a single film by taking miscellaneous pages from all three and mashing them together, inexplicably ending on where the first film would have ended just in case. The biggest, or rather the most obvious, offender on these grounds is the romantic subplot between Zhong and Snow Girl. Their relationship is primarily developed through flashbacks that look like recaps of a previous non-existent film, leading to a lot of fruitless searching online for a predecessor film to this one, and even then the subplot as a whole takes a backseat to the aforementioned weaksauce action scenes. It’s less like a drive-by romance and more like a back-alley-stabbing romance, where there isn’t even a chance of seeing where it came from.
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