Tonkô

Do you like desert? Have a special feeling in your heart when you see the yellow sand? I think it's not the actors,not the stories,which made me love this movie.Just because it is Dun Huang. My life is there¡­¡­

This movie has battles with hundreds of horsemen, dramatic scenery, excellent costumes (though I am in no position to judge their historical accuracy) and an action filled plot, with romance thrown in. Sadly, though, it lacks life. The subtitles don't get in the way, as there is not overmuch dialog. The romance is thankfully integral to the plot (rather than tacked on), but there is little chemistry between the actors. Although the battle scenes all seem rather similar, and the editing is indifferent, it's hard to put a finger on why the movie seems dull. Nothing stupid, nothing unrealistic, just not exciting.

It appears to be a joint Japanese-Chinese production.

This is a great movie, in my opinion, an epic.

The technical aspects (cinematography, etc) were top notch, the acting very realistic, and the story Shakespearean.

Great quotes I will use as my own later, like:

"You have no treasure here; your scrolls and books are just paper to you."

"Killing the wounded is a kindness; who wants a soldier who wants to die."

"The powerful survive, but to survive we have to fight. We survived, but what have we gained?:

Subtitles do NOT get in the way to the movie's impact; LOTS of action, but it helps not to be dim witted.

Bill Schaefer

This supposedly historic Chinese-Japanese co-production presents a panoramic speculation into the origin of several thousand ancient scrolls, dating back to the 11th century, found hidden in a cave in the Gobi Desert. How did they get there? According to some imaginative screenwriters they were hidden by a plucky Song Dynasty scholar after all sorts of romantic, picaresque adventures. The film is an ambitious attempt to make a Hollywood-style epic, but what could have been a sweeping historical action-spectacle is spoiled by ham-fisted direction aiming toward the grandeur of David Lean but settling for the pulp of Cecil B. DeMille. Exotic locales, a cast of thousands, and all the colored banners in Asia can't hide the clichés. The press kit actually called attention to the "seamless mixture of Western narrative values and Asian production values", but think about that for a moment: wouldn't it have made more sense the other way around?