Dang kou feng yun

This is a very traditional way that Chinese movie makers kept doing. Slow tempo, wasted lot of money on settings, costumes, attire accessories, uniforms, weaponry....formatted dialog, predictable scenarios.....rigid 1 dimensional acting, no-brain directing, etc and etc.

But among all of these clichés, the worst in this film is the pathetic soundtrack. The first viewer has already pointed out this awful arrangement, but the problem of the western styled music is not just that bad, it's problem the music director or soundtrack supervisor used a music that got nothing to do with every scene, it just repeatedly played on and on; in fighting scenes, in the camp, during dialog, it just played on with the same tune, same tone. It's the soundtrack that bothered me so severely, so I just have to quit watching. What a stupid and boring movie. Another living example how the Chinese movie makers never understood how to spent the budget wisely. The fighting scenes are okay, but they were ruined by the emotionless soundtrack.

Wow, this was one hell of a ride! If you like martial arts and warfare, you NEED to watch this movie! The epic sword fighting scenes in particular, especially the final fight, are a must watch! None of that flying nonsense you get in Hero or Crouching Tiger, Hidden Dragon either, this is (very) fast, gritty, and realistic sword fighting! And you get LOTS of it! There are also several intense and mesmerising scenes of warfare, and there's lots of bloody violence, so you better be ready for that. There is some great cinematography as well. It doesn't have the same kind of high caliber dramatic story or acting as movies like Red Cliff (although these are still good), and there isn't as much fancy strategy as in some other good warfare movies (but it still has a fair amount of it), but the action is top tier! Personally I found this to be one of the most satisfying movies I've watched all year, after having watched tons and tons of mediocre or disappointing movies both from The West and The East this year (including many I had high hopes for...). So if you like warfare and warfare strategy, martial arts, and especially sword fighting, or all of the above, then definitely watch this as soon as you can!

God Of War is a pretty solid period war/action movie from director Gordon Chan(who directed some of my favorite movies, Fist Of Legend and Beast Cops). This is probably the best acting performance to date from leading man Wenzhuo aka Vincent Zhao. He is brilliant in the fight scenes and there is quite a bit of battle action to go around in this picture. The choreographed action looks great and is very fluent, but complex. The film also looks very sharp and has good character development and pacing. Sammo Hung appears only briefly, but has a memorable cameo and good chemistry with leading man Wenzhuo Zhao. The legendary Yasuaki Kurata gives a powerful performance as Japanese general and gives a lot of empathy and insight to the Japanese side of this historical conflict. This film has elements of Red Cliff and Warlords, but most reminds me of Korean movie The Admiral Roaring Tides. All above are quality productions and highly recommended and I am very impressed by this excellent film.

I watched this on Netflix, and their discription of the film was something along the lines of "a maverick leader and a clever young general take on the Japanese pirates amid bureaucratic intrigue in Ming Dynasty China". In reality, the film is more "a clever young general takes on Japanese pirates" with bureaucratic intrigue in Ming Dynasty China as a mere backdrop. The film does alllude to bureaucratic politics in the first half of the film, but it is left to the wayside into the second half with no mention of it at the conclusion of the story. We're sort of left hanging about the characters who appeared in the first half that were involved in the politics of the Ming Dynasty.

The second half of the film focuses on two battles - and that's fine. However with a fairly crowded cast, some of the characters' death are left me feeling unempathetic. Had the film focused on developing these certain characters more in the first half of the film, it would've been more impactful. We simply didn't get time to grow attached to the characters that die.

Personally, I think the movie would've been better if it just focused on the general chasing the pirates and with very light sprinkles of his maverick leader trying to get him the funds for his army. Then the first half of the film could focus on the general training his troops, and the second half can be the battles. The movie also gets bogged down with comedic scenes between the General and his wife. I found it touching and funny, but it did make me stop and wonder when the battles were going to happen, this film is around the 2hr mark.

However, these scenes were all to humanise the General and his wife, who plays an integral part in one of the battles later on in the film. She ticks the standard "badass waifu" that we all wish had our backs, and the actress does a pretty good job of convincing me that she's exhaustedly and desperately hacking away at Japanese soldiers.

Now it would be jarring to see a 5ft6 petite woman carving her way through katanna wielding troops, but the film does it in a way that she manages to get the jump on them in the heat of battle, rather than going toe to toe with countless men. And of course, a few people have to bail her out in battle - she's not a Mary Sue (which is to be expected because Asian cinema knows how to write strong yet not overpowered female characters) So point in favour to the creative minds behind that.

Next up, I appreciate how the film takes the time to develop the Japanese characters, from the wise leader, to the young and honourable samurai, and the dishonourable ronins. The film makes a clear distinction that the ronin are the ones doing the messy work, and are barbaric in their behaviour much to the disgust of their samurai leaders. The samurai aren't the cliche evil Japanese characters we see so much in Chinese film, which is a nice change of pace for once. "Ip Man" was a bit too heavy handed on the anti-Japanese sentiment.

Finally we have the action. It's good, no shaky cam and well choreographed scenes make it worth the wait. It's no "Red Cliff", but it is more than adequate and not as fantastical as other similar epics such as "The Curse of the Golden Flower" - which is a good thing.

Overall, I enjoyed the film and the battle scenes definitely made up for the wait.

There are no less than six production company intros before God of War has even begun, giving an idea of the amount of money and co-operation necessary to make this film possible. Fortunately, they come together to pull off some of the most impressive battle sequences seen this decade. Unfortunately, God of War has similar pitfalls to other films of this genre and blockbuster Chinese films in general; a distinct lack of human engagement.

The year is 1557. A Japanese invasion force made up of trained samurai and bloodthirsty mercenaries have taken the Chinese coastal town of Cengang. After his previous success against such 'pirates', it befalls the renowned General Qi (Wenzhuo Zhao) to finish the siege and purge this great force from China for good.

What could have been outright propaganda, rapacious Japanese against the noble Chinese, is actually a somewhat layered film with established characters and motives on both sides of the fight. The respect of the filmmakers passes down to the leads, the rivalry of Qi and Commander Kumasawa (Yasuaki Kurata) reminiscent of Jack Aubrey (Russell Crowe) and his French adversary in Master and Commander.

God of War is attentive to a fault when it comes to historical authenticity, a middle section bloated by talk of an internal Chinese politics that never impacts the narrative at large. An early element of the plot is a Japanese general imprisoned on the Chinese mainland; this isn't followed up on as the plot progresses.

As a lead, Qi is a cipher. The audience never really feels his irritation at the Chinese higher command, nor at the sacrifices he and his men must make for victory. Great effort is made to mourn characters thinly established.

The most enjoyment I had with any of the characters was Lady Qi (Regina Wan). While at first her subplot feels as if it is going through the motions to justify a female lead, as the film progresses and she becomes more integral she is a joy to watch, asserting herself both against her husband and the Japanese invaders.

Where the film really stands out is not in character development but in its set-pieces. The film opens with a visceral attempt to lift a siege, and every battle henceforth is an escalation. Gunpowder (a Chinese invention) explodes across the screen. Even in the heat of battle, director Gordon Chan can focus on visual flourishes as tiny as the twist of a spear. A minor point is that the definition of the Japanese army is 'pirates', which makes me wish there had been a little bit more plundering and naval warfare.

The film makes a success of its martial arts sequences, hand to hand combat deftly interwoven with the clashing of armies. The highlight is when Qi faces off against a miner in order to secure his service, in a sequence that comes closest to any social subtext in the film.

God of War is the sort of film the Politburo loves to see, a spectacular and historic representation of an ascendant China. It's also far more watchable and authentic than this year's mess, The Great Wall. Alas, God of War stands as more a film of spectacle than substance, and while enjoyable at times may not linger in the memory. The wait for Chinese films that can combine Sixth-Generation character study with state-approved high production budgets continues.