Zhong Guo he huo ren

Technically I think this movie's made very well, but its message is very nationalistic and panders to the Chinese Communist Party and the masses (which is fair enough I suppose for a commercial film).

Especially the film's latter half focuses on the rise of China, and there is a clear message that Chinese people are inherently cleverer, more moral and generally better than stupid Americans who are only economically at the top due to their aggressiveness and luck. There's also a very odd message in the film about racism in the USA, which seems quite irrelevant to the plot of the film and just another way for the film to push home the message that Chinese people are a better people than Americans.

If you don't read into the message too much (which is hard considering how hard it's pushed home), it's quite an enjoyable film of three young men's struggle and rise to the top.

Music is especially good. The plot was exciting, but the story was told in a hurry. There is no nostalgic long lens, all rely on narration to inculcate, or ultimately ended. Tong Dawei is still that poker face, and the sense of integration with the characters is still so poor. Huang Xiaoming is either crying or laughing. After all, acting is an entry point. Deng Chao is the only one who seems to be performing.

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.

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I judge whether a movie is good or not entirely based on feelings. If a drama makes me cry, it is worth 8 points or higher. The narrative at the beginning of this film is interspersed between different eras, and the editing is a bit too fast, almost making me give up watching it. But this kind of movie grammar does not affect my appreciation. The struggle and entrepreneurial history of three ordinary young people, as well as the various frustrations and insights they experienced, moved me (almost to tears).

This movie is based on the "New Oriental" company's development. Many storylines have been seen in the news related to New Oriental, and now there are three things that I feel most deeply: 1. The Chinese people yearn for a better life and define the United States as the goal of a better life. This is the initial psychological motivation for generations of Chinese to continue to study English.

2. Even if they have learned proficient English and easily passed the GRE test, their way of thinking is not necessarily independent and mature. In some cases, they can even curse the United States and insult the teachers who helped them study English. On the one hand, they may be willing to enjoy the actual benefits of an unfair advantage and quibble about it (in a sensational way), on the other hand, they may be strongly dissatisfied with Objective criticism.

3. It may be difficult to start a business in China not only because the partners are 3 best friends since live from University, but also because they may choose the wrong industry. It is said that New Oriental is no longer able to continue to engage in education and training, and is seeking a career change. The real life of the three founders after 2021 may be even more challenging.

A person is bound to act strangely when losing at love and life. Some channel the failure into better things. In a true story, three entrepreneurs take some lumps from classrooms, random grouches, consulates, love, and each other, and manage to turn things around. They come up from depths of despair with jewels found in their hearts. With straight talk, humor and personal stories, these three turn English language classes in an abandoned factory, along with broken dreams, into a billion dollar empire. While ripe with awkward moments, inadequately developed themes, and scenes that are difficult to translate, this is a compelling tale, finely portrayed, of dealing with adversity, following your bliss and hidden talents, and letting the rest go. Seen at the 2014 Miami International Film Festival.