Tang tan 1900

While Detective Chinatown 1900 tries to blend comedy with a dark chapter of history, its tonal imbalance weakens the overall experience. The film relies too much on exposition rather than strong storytelling, making its mystery feel contrived and overly reliant on coincidences. Comedy feels misplaced given the heavy subject matter, and while the cast delivers solid performances, the writing struggles to treat its audience with intelligence. A more serious approach, with only minimal humor, would have made for a much stronger film. Ultimately, it's a forgettable entry that fails to leave a lasting impact.

The popular "Chinatown Detective" franchise has seen some hits and misses, and this is definitely one of the hits.

I had to go to an early morning screening cause the movie is constantly booked out in China.

The story at the core of the plot is a classic whodunnit with many twists and turns. The development of an interesting and complex multiple murder plot keeps you hooked throughout. The story is large in scope, intertwined with the Qing Empress sending an imperial captain to arrest Cantonese revolutionaries in America, weapons shipments, a native American tribe, and the Chinese exclusion act.

The latter however ends up taking up a bit too much of the story, overshadowing the murder plot by the middle of the movie.

Known for its jovial detective stories where the stumbling leads solve the case through a keen eye, knowledge of Traditional Chinese Medicine, and sheer luck, the franchise this time bit off more than it could chew with a cartoonishly delivered political plot that kept on growing and taking up more screentime.

Still, this movie is definitely worth seeing and will keep you entertained throughout!

Though I had high expectations for this movie for being much spoiled of how great it is, I was still pleasantly surprised by Detective Chinatown 1900. As a Chinese immigrant, I'm proud that it's a mainland Chinese director who decided to touch upon topics of immigrant laborers, the Yellow Peril, and the Chinese Exclusionary Act, and further at how well this part of history is adopted, recreated, and incorporated with the overall storyline of the movie --- as it goes, Chen Sicheng is a true merchant in terms of selecting film subjects. Chow Yun-Fat gives hell of a performance for a multilayered Chinese-American hero: a loving father, an approachable elder, a cunning diplomat, and an authoritative (mob) leader. Bai's speech at the court is a rare scene of cultural outcry that struck me personally and inspired new reflections.

Notice how I never mentioned the "detective" bit of the movie? The crime/investigation storyline is decent but not amazing compared to the rest of the franchise, complexity and portrayal wise. Some parts of the murder even took me out in terms of the absurdity and logistics, which leads me to question if the director has a thing with pregnant women (cue his last film Lost in the Stars).

Overall, enjoyable comedy, ambitious multi-storylines, and great performances across the board. Keep in mind, however, that this film is targeted toward the Chinese market/audiences and it's meant to educate, provoke, and moralize, perhaps in a way you might not agree with.

Honestly, considering Chen Sicheng's usual... performance, this movie is way better than the third one.

A miracle, really.

(He's tortured my expectations so low, it's kinda sad.)

But you gotta admit - dude knows how to make a Chinese New Year blockbuster.

He single-handedly invented "Spring Festival Gala: The Movie."

Whatever's trending on Douyin?

He throws it in.

Musical numbers? Check.

Plot twists? Check.

Stand-up comedy vibes? Yup.

Magic tricks?? Bro, even those.

A big happy ending with a cheesy group song? You bet.

Chen Sicheng really took the recent Spring Festival Gala vibes to heart: "Teach a lesson first, then let people have fun." Man's getting older - just wants that iron rice bowl now.

When it comes to cashing in on patriotism, even Wu Jing would have to bow and call him the godfather.

Honestly, if it weren't for Chow Yun-fat's acting saving those cringy lines, I would've been rolling my eyes halfway through.

At times this is actually quite a fun spoof along the lines of "Sherlock Holmes" meets "Charlie Chan" by way of "High Noon" but for the most part it's a mess of a film that goes on for far too long. With the Manchu court facing the great powers we saw in "55 Days at Peking" (1963) the Empress Dowager dispatches her finest officer to San Francisco to track down a traitor. As it happens, the Holmesian "Fu" (Haoran Liu) is also in that very city on a quest for the killer of the daughter of senator "Grant" (John Cusack). Quite swiftly his investigation and the imperial mission start to overlap as the enthusiastic "Fu" and his newfound spiritual Indian guide "Gui" (Baoqiang Wang) discover that the prime suspect in the killing (Steven Zhang) is the son of local entrepreneur "Bai" (Chow Yun-Fat) and that the senator is using this to stir anti-Chinese sentiment to the point where he can force them out and seize their property. What now ensues delivers a series of rather randomly assembled escapades that mix murder mystery with western with romance and add a good dose of skullduggery to boot as they try to prove the young "Bai" was framed. Fu and Wang make for a decent enough double act at times, but the story loses it's way way too often and after a while the characterisations - especially "Bai" and "Grant" become light-weight and strained parodies. Fortunately, after about two hours, auteur Sicheng Chen must have felt he was running out of file space and so decided he'd better wrap things up - and for that last quarter of an hour the story knits together things we knew with things we didn't and presents us with a rather feeble denouement that did sort of suggest that there could be more adventures to come for the likeable "Gui" and "Fu". What is potent is the closing statement from the elder "Bai" about remembering the importance of immigrant labour in establishing a country that was all too quick to shun that working community later when it suited it, but it's made in a cack-handed and over-the-top fashion and drowned out by an overpowering score and thus loses much of an impact that might actually resonate in an USA that's still unsure how to recognise those who do/did the work but perhaps didn't all have the same/right skin colour or paperwork. It has it's moments, just nowhere near enough of them.