Police Story 2013 by Ding Sheng

Police Story 2013 by Ding Sheng

 

Mainland Chinese police Captain Zhong Wen tries to reconcile with his estranged daughter Miao Miao in a bar, which is interrupted by a group of criminals taking over the bar, turning it into a hostage situation.

It must be said that the anticipation for a Jackie Chan film has changed over the years. Chan himself had announced in last year’s Chinese Zodiac 12 to be his last film with major action in it. We cannot go in expecting to be wowed by death-defying stunts or exhilarating fight choreography anymore. Instead of fights, he has chosen to switch into the dramatic.

Police Story 2013 is not a continuation of the original Police Story series, the title is in name only. Chan’s character Zhong Wen is not Chan Ka-Kui, Jackie Chan’s Supercop character from the original Police Story series. Zhong Wen is not hotheaded, not prone to solving conflicts with violence or even a great hand-to-hand fighter. The only similarity both characters share is their whole-hearted belief of the law and their obligation to do the right thing. Otherwise, Zhong Wen is a dramatic character exploring themes of old age and dealing with the consequences of being a poor father, and therefore it is a role that the older Jackie Chan naturally fits into. In comparison to Chan’s dramatic turns in The Karate Kid remake and The Shinjuku Incident, this performance is the most honest.

The fights, which are not choreographed by the Jackie Chan Stunt Team, are shot close and choppily edited. And sadly, there are not that many of them. For Jackie Chan fans that are hungry to watch a good fight or a stunt will be disappointed. Originally there were not going to be any fights in the film.

Director Ding Sheng, who previously worked with Chan on Little Big Soldier, constructs some tense moments and keeps the audience guessing with red herrings. Liu Ye plays the villain in true scenery chewing fashion, the cat-and-mouse game between Liu and Chan is the price of admission. Jing Tian, having been played the most annoying female police officer in Donnie Yen’s Special ID earlier this year, fares much better in a more fleshed-out role. I’m curious to see what part she will play in the upcoming Chow Yun Fat-Wong Jing God of Gamblers rehash From Vegas to Macau.

As for the hostage situation itself, the bickering hostages are very annoying and it begs to question how they would be able to yak on the way they do without risking execution. The final reveal in the mystery plot is pedestrian, as one would expect a more epic conflict. Immense effort has been made to shift things to a ground level and while it succeeds at creating a gritty realism, it works against the film in terms of payoff. With a back catalogue full of dangerous stunts and action scenes, who could imagine a Jackie Chan movie made so humbly and low-volume?

Police Story 2013 ultimately is an incidental addition to the Jackie Chan canon and does not hold a close candle to the original Police Story series -though much better than the awful New Police Story-, but I did not expect it to be either. It was entertaining for its running time, but I won’t watch it again. The 3D is a shameless cash grab as minimal design has been put in and it is counter-productively dulling down its colorful cinematography. Overall the average Jackie Chan fan might be happier to see it as a rental. Nothing here is worth being angry or disappointed over.

You might be thinking, why am I being so forgiving? Why am I giving Police Story 2013 a pass? The answer: I am not ready to live in a world without Jackie Chan movies in it.

Related Links
Chinese Zodiac 12 by Jackie Chan

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Personal Tailor by Feng Xiaogang

Personal Tailor by Feng Xiaogang

“Personal Tailor” is an unique business which specializes in allowing their customers to escape their day-t0-day life and live their dreams by staging specific scenarios that are tailored to meet their requests , no matter how ridiculous or far-fetched, every client is able to “live the dream”.

It is a phenomenon how Feng Xiaogang has established himself as the voice of the people in terms of Mainland Chinese cinema. Nobody else that makes films as didactic and on-the-nose as he does and still be so loved and supported. His latest comedy Personal Tailor is a series of vignettes about its four employees taking on different clients and making their dreams come true. The clients include a chaffeur who wants to be an important authority figure, a schlock B-movie director who wants to learn the essence of good taste and a working class cleaning lady who gets to be rich for one day. The vignettes vary from farce, satire, the absurd and even sometimes the fantastical. Reality is out of the window but it is the fable-like quality that holds the piece together.

Longtime Feng Xiaogang leading man Ge You plays his classic comedy archetype, the swindler with the heart of gold. That character will never get old. Bai Baihe from last year’s hit Love is Not Blind and Li Xiao Lu from Xiu Xiu: The Sent-Down Girl are both charming and funny. Jackie Chan and Huang Bao Qiang also make small cameos to ease the investors, however neither should be a reason to see the film.

The star of the film is Feng Xiaogang himself, who in each vignette gives us his thoughts and commentary on topics like social class, materialism, rich vs. poor and reality vs. dreams. It is fun watching the four leads run around in costumes and trying to drive their client’s ambitions down so their business turns out a profit, but their characterizations are not developed. They are merely puppets to a Feng Xiaogang puppet show and only exist to deliver the director’s multiple messages. The heavy messaging has long been a trope of Feng’s films and it must be said that Personal Tailor is the most thinly veiled of all his works. If you haven’t seen any of Feng Xiaogang’s urban comedies, Personal Tailor may not be the place to start.

Lastly, the movie is too long. The segment where the team ventures out in the wild to apologize for man’s appalling crimes against nature is too far fetched and ‘tree huggy’ for my taste. Personal Tailor is by no means Feng Xiaogang’s best work and it probably wouldn’t have a very long shelf life after its Lunar Year theatrical release. For English speaking audiences, the film actually has good subtitles but its humor probably will be lost in translation. Even for Feng Xiaogang fans, this isn’t a movie to own in your Blu-ray collection. To them I say, go see it in theaters while it’s current and  get your laughs from the latest Feng Xiaogang social commentary. It is a sincere hopeful message, but for me, it’s still too didactic.

Chinese Zodiac 12 by Jackie Chan

Chinese Zodiac 12 by Jackie Chan

Chinese Zodiac 12 by Jackie Chan

A team of thieves lead by JC (played by Jackie Chan) searches the world for a set of mystic artifacts – 12 bronze heads of the animals from the Chinese zodiac.

This is a tricky movie to critique. First of all, Jackie Chan has stated that this is his last time performing his own stunts in a movie. So do I measure CZ12 as a standalone film  or do I position it as a final act in the long line of Jackie Chan’s filmography over the last 30 years?

Secondly, what can I expect from Jackie Chan? As a final bow, what can he do to surprise me? He is long past his physical peak (in my opinion, his top physical peak was Police Story 2). After 20 years of growing up on his films, The “Jackie Chan Action Scene Formula” is forever embedded into my brain; I almost always know how his fight scenes end. In case you do not know what I’m talking about, here it is:

  1. There’s a situation where Jackie Chan is being beaten by a group of people.
  2. The fight leads to an environment/a prop.
  3.  Jackie Chan using the environment/prop, creatively defeats the entire group of people.
  4.  There’s a joke at the end that comes from the environment/prop. End scene.

So, did Chinese Zodiac 12 surprise me? I would say 40% yes, 60% no.

I watched a recent interview that Jackie Chan gave to a mainland show where he said that he did not like casting TV actors in his movies because they take way too much time to get through a scene of dialogue. It seems he went the other extreme, because the dramatic scenes are played out and edited way too quickly. It’s like every dramatic scene was played out on fast-forward and often there is not a lot of time to digest what’s going on. Even comedic moments are neutered from the lack of time to digest them. I found this to be problematic.

Narrative wise, the story takes shortcuts. Characters act out of character at times for story convenience. And seriously, can anyone really buy Jackie Chan being a heartless money-grubbing thief? I’d have an easier time buying Tom Hanks playing a bad guy than Jackie Chan.

So about the set pieces. For what he can’t bring physically, Chan makes it up with scale and locales. The action set pieces are fun, some stand out more than others. My favorite was the bodyblading sequence at the beginning. That was a very tense sequence watching Jackie Chan go head first speeding down a highway. The story and action scenes in CZ12 ask the audience to recall Jackie Chan’s past filmography, notably the two Armour of God movies (You can call this Armour of God 3, if you like). It even drew a few gags from it and there was one set that recalled the drug factory from Dragons Forever. This makes it impossible for me to critique it as a standalone film.

Part of the film’s story is a piece of issue-tainment addressing the issue of museums withholding historical artifacts from their home countries. It’s an issue that Jackie Chan seems to care a lot about and he presents it as an international issue. Although the film treats this issue rather lightly and it does ultimately get buried under the trappings of a Jackie Chan movie, it’s nice to see Chan raising an issue like this in a film.

There are many personal touches like that here, it’s very possible that Jackie Chan can just be a director in the future. There was one noteworthy part of the movie where Jackie Chan actually officially apologizes to his real-life wife for the time they’ve missed together all these years. They reportedly see each other once a year. This moved me by the end. It was not from the story of the film or from a well-earned dramatic catharsis, but because it felt like Jackie Chan was saying goodbye to me.

For anybody who’s unfamiliar with Chan, it’s not a great movie by conventional rules nor would it gain him any new fans. For these people, I refer you to his earlier films, check out The Drunken Master and the Police Story films.

For people who grew up on Jackie Chan movies like I did, I don’t think I can ever stomach the idea of Jackie Chan saying goodbye. My earlier memories of films were of Jackie Chan movies. Watching this movie, I was moved, laughed and exhilirated, all the time thinking maybe this was the last time. If Jackie Chan really chose to retire performing action, CZ12 is a good way to go out.