Escape from the 21st Century

Escape From the 21st Century is certainly a sight to behold; an unrelentingly wacky and stylized Chinese sci-fi comedy that owes its existence to the same Stephen Chow classics that, along with other Hong Kong legends, were lovingly referenced in 2022's Everything Everywhere All At Once. People aren't unjustified in comparing Escape From the 21st Century (whose wacky captions and animated emphases have also yielded comparison to Scott Pilgrim vs. The World) to EEAAO, though I would urge them to check out the Chow titles that inspired both works.

In this film, we meet three friends who discover that sneezing -- yes, sneezing -- causes their consciousnesses to travel 20 years into the future, where they remain until they sneeze once again and return to their young bodies. They decide to meet up in their future bodies and discover what sort of lives they lead, and all manner of cartoonish hilarity and high-speed action ensue, especially when our heroes start trying to influence fate. And yes, in EEAAO fashion, it winds up being a sincerely poignant tale about life, destiny, and what-could-have-been that escalates in one humdinger of a climax.

The film does get a bit exhausting at points, and it probably throws too much at us, not just in terms of style (the aforementioned captions, the cartoon physics, the random animations, the aspect ratio shifts that sometimes denote a jump through time but other times seem haphazard), but also in terms of its sci-fi premise.

I haven't yet mentioned that the film actually takes place on another planet, which adds little save for lore about the various pop culture figures and wildlife our heroes are familiar with. It mostly looks like Earth, so what's the point, you may wonder? Was this done because audiences wouldn't buy that a magical frog, whose toxins are what imbue the heroes with their time-travel powers, and killer androids could exist on our planet? Well, as it turns out, it was done to circumvent censorship from the Chinese government, as the film doesn't really depict modern China, but rather Planet K.

The set pieces and presentation choices are ambitious, but sometimes awkwardly executed/edited. Often things move too quickly, especially by the start. Regardless, this is the sort of filmmaking we ought to cherish. To quote a Letterboxd review: "Genres, frame shapes, effects, styles, pacing. All played with. It's a breakneck bombardment of hodgepodge ideas and stimulation. And you know what, it kind of works. And even when it doesn't, it's fun to still see them try."

Yes, I'd like to say a few words. Thank you.

Li Yang is undoubtedly one of the most imaginative and free-spirited directors among China's talented filmmakers.

Another similar director might be Han Yan.

The comparison is not about who is better. Han Yan probably can't be as reckless as Li Yang, and Li Yang probably can't draw freedom following strict principles like Han Yan.

Imaginative filmmakers are, of course, not rare, but what's rare is a director like Li Yang who can accurately express every form of imaginative freedom.

Chinese cinema definitely needs Li Yang, just as it needs Han Yan, Cheng Er, and Guo Fan.

That's why I feel somewhat frustrated about this film's box office performance. Han Yan's 'Animal World' had over 500 million yuan at the box office. That's a ticket for Han Yan to go on and on.

I'm afraid Li Yang might be gone after this. It's okay if Bi Gan disappeared. Not Li Yang.

"If you are in pain, it is only temporary" said the director via a video prior to the start of the film screening at the Toronto International Film Festival. If this was true, then the film would have been over in a minute or two.

"The greatest lie we tell ourselves is that things will get better when we grow up."

This theme seemed enticing, and it helped lead me to see this film. Also the comparison to a Stephen Chow film (whose films I love). However, the film didn't follow the premise or compare to Chow. It didn't follow any premise except trying to look cool. No depth, and no purpose. And really, falling into a chemical spill gives the characters the ability to time travel?! I don't mind giving a story line the benefit of the doubt, but this isn't brilliant or creative, it's just dumb.

A wild blend of Scott Pilgrim vs. The World and Everything Everywhere All at Once, mixing nostalgic teen adventure with chaotic, reality-bending absurdity. Escape from the 21st Century is a chaotic, neon-drenched rollercoaster that blends nostalgia, absurdist humor, and heartfelt existentialism. With its fast-paced editing, reality-bending twists, and visually maximalist style, the film delivers a hyperactive experience that feels like a fever dream. It thrives on ACG culture, cyberpunk aesthetics, and a touch of dreamcore, making it a unique entry in modern sci-fi comedies. If you love wild, dimension-hopping adventures packed with humor and emotion, this one's for you.

From Gravity to The Wandering Earth, government-sponsored movies often include messaging or branding that spoils the experience. Still, in search of something different from the usual fare, I stumbled upon Escape From The 21st Century, an independently produced film free from government influence or funding, and came away pleasantly surprised.

This movie is a dynamic visual feast that blends live-action and animation, bursting with quirky scenes, over-the-top scuffles, and offbeat charm peppered with cultural references. Amid the chaos and absurdity, it delivers laughs and a touching message about connection, regrets, and second chances. It's a wildly imaginative ride that is as visually creative as it is emotionally stirring by the end.