It’s Already Tomorrow in Hong Kong (Emily Ting, 2015)

Emily Ting’s romantic comedy opens this week at the Varsity Theatre, but we saw it last fall at the Vancouver International Film Festival (The title has inexplicably misplaced its “It’s” since then, which we are choosing to ignore). Here’s what we wrote about it back then:

Sean’s Review:

Emily Ting’s It’s Already Tomorrow in Hong Kong is a different kind of fantasy, one of ex-patriates in Hong Kong and, more distressingly, of indie filmmakers weaned on Before Sunrise. Jamie Chung plays an American from Los Angeles (her grandparents emigrated from Hong Kong) lost in the city who runs into a fellow American named Josh. He’s the Joshiest Josh in film history, working in finance but really, an aspiring novelist. Actor Bryan Greenberg looks like the child of Michael Rappaport and John Krasczinski, but with even worse hair than that implies. He shows her around, lets slip way too late in the evening that he has a girlfriend and the couple splits. . . only to reunite a year later for another walk (once again hitting places best seen in Wong Kar-wai and Johnnie To films) and faux-naturalistic conversation (and a trip to a bar to see a Hong Kong knock-off of Arcade Fire, which is exactly as appalling as that sounds). After a century of Parisian dominance, it’s clear to me that Hong Kong is the most cinematic city in the world, and it certainly doesn’t let Ting down. The film is gorgeous, the bright lights of Hong Kong providing enough inherent pleasure that one is able to overlook the constructed obviousness of the script and the bland nothingness that is Greenberg’s performance. Chung fares better, her lines are just as generic but she sells them with big eyes and a world-saving smile. Pretty as the city is, it’s a problem when during the romantic climax of your film, the most interesting thing on screen is the multi-layered play of lights on a taxi cab window. Not even a cameo from the great Richard Ng can bring it to life.

Mike’s Review:

White guy living in Hong Kong meets an American woman of Chinese descent. The two hit it off but complications ensue when it is discovered they have other attachments. As a travelogue for the gorgeous city of Hong Kong, this works well enough, with depictions of the majestic skyline and bustling streets. As a romance or a comedy or a showcase for the art of acting, it is a failure.

Dragon Blade (Daniel Lee, 2015)

dragon-blade

A historical epic with Jackie Chan, John Cusack and Adrian Brody, set along the Silk Road as a fugitive Roman legion encounters a Chinese security force, this was even worse than I imagined it would be. Let’s set aside the complete and utter ahistoricality of it all (despite the “based on real events” title card at the start), (OK, one point: it’s set in 48 BC, but all the Romans refer to themselves as being part of the Roman Empire: Julius Caesar was assassinated in 44 BC, and the Empire not really established until 27 BC, and even then it wasn’t called that for quite awhile later) or the simplistic naiveté of Jackie Chan’s vision of interracial harmony, the uplifting and apparently inevitable side effect of manly exercises like play-fighting and building stuff, and just focus on the action, which is ostensibly all one looks for in a Jackie Chan film. It’s pretty boring. Chan looks old and tired, the costuming pads him out (the better to absorb blows he would have taken bare-chested 30 years ago?) and slows him down. The choreography occasionally makes creative use of found objects, but that only reminds one of better scenes in other Chan films. The editing has the same peripatetic rhythm of 21st century wuxia, but with none of the surreal flair that CGI effects can give such films (Chan remains the most committed to actuality of his peers). Most absurdly though, director Daniel Lee continually frames Chan as an angelic figure, beaming beatifically on the men he has lectured and unified, awkward grin on his poorly-coiffed head (some things never change) as he is haloed by the backlighting sun. It makes one long to return to the striking image of a crucified, eyeless, John Cusack, if only out of a longing to take his place.

Dragon Blade continues, somewhat surprisingly, at the Varsity Theatre.