From Vegas to Macau by Wong Jing

From Vegas to Macau by Wong Jing

 

The God of Gamblers series were the films of my childhood and were amongst the first films I binge-watched on television. Chow Yun Fat in a pompadour and tuxedo with unexplainable gambling powers walking in slow-motion was just the epitome of cinematic cool. The success of the first GOG spawned three spinoff series, a sequel and a prequel. The gambling movies peaked with the Stephen Chow series when he took it to new heights with his brand of nonsensical humor. The trend started to die out in the late 90’s and eventually in the 2000’s became embarrassing rehashes starring Nick Cheung. The only interesting addition was 1999’s The Conman starring Andy Lau, a reboot of The Knight of Gamblers series, which interestingly rooted the gambling into reality. Sadly it was ruined by its lackluster sequel The Conmen in Vegas, which was a string of unfunny lewd gags.

Now here we are with From Vegas to Macau, the story starts with small-time conman Cool (Nicholas Tse), whose undercover policeman half-brother (Phillip Ng) is murdered by Ko (Gao Hu), the head of an illegal gambling syndicate. Cool seeks the help of “Magic Hands” Ken (Chow Yun Fat), a legendary gambler turned casino security consultant, to battle Ko.

As you may have figured, Chow is unfortunately not playing the Ko Chun character. The Ken character is more akin to Chow’s silly comedic roles in The Diary of a Big Man or The Eighth Happiness, which is overall less serious. However much of Chow’s cinematic allure is still there. I can watch Chow Yun Fat in a tuxedo walking into lobbies greeting people all day. When Chow sits at a gambling table, you just want him to win so much you don’t even care how he is doing it. He is the warm bright sun shining onto this film, and every time he is not onscreen, it starts to feel cold and stale.

Nicholas Tse looks bored playing the stone-faced romantic lead Cool. Tse plays it so straight it looks like he belongs in another movie. Jing Tian, having previously starring together with Donnie Yen and Jackie Chan, is getting on my nerves from overexposure. Her policewoman is bland. I would kindly suggest that she go fire a real gun and wear the police gear before the day of the shoot, because she always looks like she’s playing dress up. As the comic relief, Chapman To does the most with he’s given with delivering the cheesiest jokes in rapid-fire delivery. To does it with such earnestness that he just about gets away with it.

Even after 20 years, Wong Jing is still giving the same gags. I started guessing the punchlines to all of the gags. Even worse, I knew where they were all done before. To name a few tropes: the international water plot twist, staging a fake football broadcast, and the fat women being undesirable gag are all here. The most unforgivable thing is that there isn’t a final gambling match at the end,

The biggest con man is perhaps Wong Jing himself, who in the final shot of the film, teases the audience with a surprise cameo appearance and plays a hip hop cover of Lowell Lo’s original God of Gamblers theme song in the end credits, which insinuates the good film that he could have made, the film that everybody came to see. And that is just mean-spirited.

Wong Jing, having seen him speak in interviews, has a very ‘ends justify the means’ approach to everything he does. As long as he makes money, everything he does is justified. That is the accountant-like approach to Jing’s directing. What’s most infuriating is the gambling film series feel stuck in time is not because of its nineties pastiche, but because Wong Jing has no interest of taking it anywhere by updating or adding a new modern angle to it. From Vegas to Macau just feels like reheated overnight food.


American Dreams in China by Peter Chan

American Dreams in China by Peter Chan

During the economic reform period of the 80’s, three friends bind together by a common ambition – to live the American dream.

The three leads Huang Xiao Ming, Deng Chao and Tong Dawei create a very believable camaraderie. It is possible to be happy for your friend doing well and envy him at the same time, and that is the central story between these three friends. Huang Xiao Ming brings his best performance thus far. He’s not busy preening for the camera and posing a pretty boy as I have seen in his past works. It’s partly the role itself as it asks Huang to start by playing a vulnerable teenage boy who eventually that ages into a man.

There’s a trend of using very fast cuts in Mainland comedies right now. It originated with Ning Hao’s 2006 heist comedy Crazy Stone – which drew its visual style from Guy Ritchie – and now it has officially embedded itself genetically as filmic grammar for Chinese comedic dialogue. There’s a scene where two of the friends had a fight and complain about each other individually with the third friend over a ping pong game. The cutting is so fast between conversation A and conversation B that it’s impossible for the audience to really feel what these characters are going through. These montages will happen every now and then to speed the story ahead. It’s zany for sure, but at times I wish they would let the scenes breathe instead of zeroing in for laughs.

That said, it’s smart on Peter Chan’s part of picking up on this trend and using it here because American Dreams in China is a Mainland Chinese story made for the Mainland audience. The content may prove more difficult with English-speaking audiences whom aren’t aware of the cultural context or why the 3 friends carry the values they do about America and the American Dream to laugh at it whole-heartedly.

Suffice to say, Chan balances the film well and it is impressive to see a Hong Kong director tune to a Mainland frequency. Best thing I can say about Peter Chan’s direction is that he is worldly. He doesn’t portray Americans as white devils, which makes things more interesting and engaging. American Dreams in China will connect with its audience, namely Chinese people who were born in the 80’s, and those people will enjoy it. Everybody else I am not so sure but this is a nice gem of a film nonetheless.