Bao lie wu sheng

Cinematography was outstanding, acting on point, but the writing was terrible. I like the message this film was telling, but there were too many long, dragged out and unnecessary scenes. What was even the need for the father to play a mute? The butcher losing an eye? That entire cave scene lacked any reasoning or logic. Etc. There were too many convoluted plot and technical issues This film needed much cutting/trimming and editing. All the fluff and slow pacing, made the 120 min runtime feel like over 3 hours. The fight choreography was also underwhelming and unrealistic. Maybe some martial arts experience for the father may have made it somewhat realistic, as he showed zero fighting skills, especially against an entire office. It's a 5/10 from me

Metaphors for different social strata are in place. The whole movie has a good control over suspense. The script is really good. The mystery is pulled away layer by layer until the last moment. The shortcomings are also obvious, too many indifferent lenses weaken the main line; the lawyer's performance is too superficial, 80% of the scenes are wooden face.

The story is basically about a dumb man who seeks his missing son at all costs based on an inner faith. In the course of this search, he ends up facing a powerful owner of a mining corporation. I did not really like this movie. There is some lack of logic in some parts. At one point, I had to turn on the Quick Play mode to speed up its end. It's a bit slow and tiring. If someone asks me whether I recommend it or not my answer is NO. I do not recommend this movie.

The film show us how society l in china. who have more money, who had more power and money, even the human life, usually begin and generic Polt in first twenty minutes, but it shocked me and made me heart quickly after.

Hurray, the first good film of this year's festival! A genuinely unusual take on that old chestnut, the 'psycho looking for his missing kid' flick, but used to interrogate the iniquities of contemporary Chinese society (without anyone involved in the production gettinh killed), as a mute miner – left behind by the rapid pace of progress – engages in a bleak, apparently hopeless quest that's punctuated by moments of dark comedy and bone-crunching action (there's a lot of him just kicking people really hard).

The final shot could have used a bit of work, but the ending is otherwise superb, a fitting capper to a film with a few rough edges (cartoonish villainy, an opening that's more confusing than intriguing, a little mid-section bagginess) but interesting ideas, superb imagery – that in-camera shot of the desert giving way to the city! – and the best exhausted fight scene in aeons. Clever title too.

It's basically Kurosawa's High and Low, but for China in 2017. Having said that, and as the director acknowledged, there are no state officials involved in wrongdoing: the corruption shown is all in the private sector, even if it's high-ranking lawyers who operate within the public realm and increasingly dominate Chinese society.

... and curiously, like my previous film in the festival, Todd Haynes' risible Wonderstruck, it hinges on a mute person and a taxidermical diorama. This one's good, though.