action adventure movies

Kong: Skull Island (2017)

Kong: Skull Island is an impressive spectacle, the kind of movie made for a rousing theatergoing experience. Not that I would know since I watched it on DVR at five in the morning with loads of coffee and no sleep. But I imagine it would be exhilarating to sink into my stadium seat and gaze up at the thirty-foot screen because what is the point of going to the cinema if not to see giant beasts battling it out against a tropical landscape? The film doesn’t hit every mark, but it does deliver a blockbuster bang of star power, mythmaking, and special effects.

This latest Kong story takes us back to the 1970s and Skull Island. Government official Bill Randa (John Goodman) leads a group of scientists to the uncharted territory in the South Pacific on what is ostensibly a mapping mission but is really a search for Kong and other primeval creatures. He enlists the services of former British forces scout James Conrad (Tom Hiddleston) and anti-war photographer Mason Weaver (Brie Larson) and is given a military escort led by Lieutenant Colonel Preston Packard (Samuel L. Jackson). They don’t even manage to land before most of the team is killed. The scattered survivors form two groups, one consisting of Conrad, Weaver, and some scientists and the other largely military personnel led by Packard.

Kong, the cause of all the carnage, immediately becomes the white whale to Packard’s Ahab. The lieutenant colonel embarks on a new mission – to retrieve more weapons and explosives and kill Kong. Conrad’s team, meanwhile, encounter an indigenous tribe who have been sheltering an unexpected guest. They learn from the Iwi people that Kong, the last of his kind, is actually the island’s protector, a godlike figure to them because he keeps the far more vicious Skullcrawlers, underwater lizard beasts, at bay.

With battle lines drawn, it’s easy to get swept away by the epic scale of things. The climactic fight between Kong and king of the Skullcrawlers is a brawl for the ages, on par with those lion-hyena-elephant-crocodile fights you see in nature documentaries. A wild-eyed Packard also steels himself to take down everyone and everything that comes between him and Kong. But there are a lot more ideas at play than monster versus monster or monster versus man. With the Vietnam War casting a shadow over everything, the characters’ militarism is even more pronounced. The movie points its critical eye not so much at the fear of the unknown but at the kneejerk response to it, which is always met with aggression and violence. Packard may personify this, but he’s not the only one operating on the ethos of “shoot first, ask questions never.” After all, Randa and his scientists’ gleeful bombing of Kong’s backyard is what sets the whole thing off.

The carnage by beast and human plays out against breathtaking landscape, making the human part of it more savage than beautiful. Shot on location in Vietnam, Hawai’i, and Australia, the film boasts handsome photography. Nevertheless, the striking visuals can’t hide the weaker parts of the story. Everyone’s playing at an idea rather than a fully fleshed character, and the film tries to have it both ways by elevating the heroes it wants to critique. Outside of Kong, Larson’s character comes closest to someone you can root for. Weaver is the movie’s emotional touchpoint and manages to tap into Kong’s tamer side. Of course she further other-izes the Iwi people with photographs that are bound for a National Geographic spread. Hiddleston and Jackson at least have enough grit to turn their characters into charismatic, if troubling, stereotypes. Jing Tian, on the other hand, doesn’t get a chance to break out and merely acts as a prop for Cory Hawkins’s character, lest he poke around the background by himself. There’s blessed comic relief in the form of “crazy Santa Claus time traveler guy” John C. Reilly as well as Thomas Mann, who plays one of Packard’s men. Their contributions keep the film from becoming a generic dark and serious type of action adventure.

Released: 2017
Prod: Thomas Tull, Mary Parent, Jon Jashni, Alex Garcia
Dir: Jordan Vogt-Roberts
Writer: Dan Gilroy, Max Borenstein, Derek Connolly
Cast: Tom Hiddleston, Samuel L. Jackson, John Goodman, Brie Larson, Jing Tian, Toby Kebbell, John Ortiz, Corey Hawkins, Jason Mitchell, Shea Whigham, Thomas Mann, Terry Notary, John C. Reilly, Marc Evan Jackson, Richard Jenkins, Miyavi
Time: 118 min
Lang: English, some Japanese
Country: United States
Reviewed: 2019

Fantastic Beasts: The Crimes of Grindenwald (2018)

The last time I was this devastated by the imaginary happenings of J.K. Rowling’s Wizarding World was due to the death of Sirius Black. The Crimes of Grindenwald compounds that trauma since pretty much no one gets out of this film unscathed. Critics and fans might include themselves in that number too. This second installment of the Fantastic Beasts series received a frosty reception by those who took issue with its sloppy writing and convoluted plot, fair points on both accounts. For what it’s worth though, which is not a lot, I’ve spent more hours with this movie than with all the other films and books combined.

Sure, I’ll cop to being superficial and acknowledge that the cast is partly the reason. Former Burberry models Eddie Redmayne and Callum Turner are fucking snacks in their woolen three-piece suits. Then there’s Jude Law, a man who can do smoking hot pope and smoking hot wizard prof. Zoe Kravitz holds it down for the ladies. I’ve never wanted to be an emotionally tortured witch from the 1920s as much as I do when I see her, and her wardrobe. In fact, the whole costume department can come over and outfit me for the day, or forever. The handsome period clothing is also matched by the film’s sumptuous design, with Europe proving a far lusher playground than gloomy post-war America.

The malcontents are not wrong about the film’s faults though. The story, which takes place a shortly after the events of the first movie, is slow to come together. Magizoologist Newt Scamandar (Redmayne) is back in London after tearing up New York. He briefly reunites with his former Hogwarts teacher, Dumbledore (Law), who seeks his help on another errand that will likely get both in trouble with the Ministry. Events soon force Newt and the others to travel to France, where everyone is pursuing the mysterious Credence Barebone (Ezra Miller). American auror Tina Goldstein (Katherine Waterson), who tried to protect him in America, follows the young man to Paris, keeping an eye on those who seek to kill or corrupt him. Grimmson, a bloodthirsty bounty hunter employed by the British Ministry of Magic, and Yusef Kama (William Nadylam), a shady Frenchman with a grudge, both want him dead, while the dark wizard Grindenwald (Johnny Depp), aided by his band of pureblood acolytes, hopes to use Credence for his own ends.

With no book as a guide, there’s a lot to piece together, and even the film’s 134 minute run time seems too short to do its story and characters justice. Director David Yates works with a script penned by Rowling, but they don’t filter out which of the many details are most important for this particular movie. Whereas the first film was largely about Newt and Tina’s efforts to protect Credence, Crimes of Grindenwald is missing a similar overriding narrative. At times, it is focused on Credence’s search for his true identity, and at others, it is about Grindenwald’s attempt to upend the world order, replacing it with one in which witches and wizards reign superior. Leta Lestrange (Kravitz) also finds herself at the center of things. Newt’s best and only friend from Hogwarts, Leta is now engaged to his brother, Theseus (Turner), and remains haunted by a past that she’s reluctant to revisit.

The lack of strong relationships is one reason why the film seems so disjointed. The movie conspires to keep everyone apart, creating a certain amount of tension but also scattering the characters across different ends of Britain and Paris. We know Newt and Tina grow closer, but we don’t even see her for a good half hour. Meanwhile, Queenie (Alison Sudol), Tina’s sister, and her no-maj baker boyfriend, Jacob (Dan Fogler), part in anger after crashing at Newt’s flat. She’s left wandering the streets of Paris by herself. The two men then travel to France to pursue their significant others, but it turns into a real downer of a trip. Newt is too distracted by everything else to pay much attention to his best bud, and with no one as his foil, Jacob ends up looking deflated. There are good reasons for his pessimism, but the camaraderie between the two was something I was looking forward to. Fogler is great with a wry one-liner or a flummoxed stare, and he doesn’t get many chances to flex that humor here.

The actors do their best to make up for gaps in storytelling though. Redmayne and Miller ease back into their roles, finding new points of turmoil for Newt and Credence, and Sudol reveals a different side to Queenie, one in which her good and trusting nature leads to desperation. Queenie and Jacob share only a few scenes this time around, but they capitalize on them with some truly heart-wrenching moments. Likewise, the script doesn’t reveal much in the way of Newt and Theseus’s strained relationship, and we get just a few flashes of the ill will that’s been brewing for years. As Grindenwald’s threat grows, however, the brothers are forced to come together in a raw and pained confrontation.

Yet the actors’ committed portrayals in the final act are a reason why I was a little disappointed. The emotional gut punches come mostly at the end, making the rest of the film a long waiting game. The first two-thirds of the movie aren’t as stirring as they need to be and leave too many of these rich, dynamic characters hanging. Of the neglected characters and storylines, none is more underserved than Leta and Theseus’s relationship. A burning love story exists somewhere, but we hardly get to see it. That’s a shame because not only are Kravitz and Turner sexy beasts, their romance also informs so much of Newt’s character. There’s a lot of unpacking to be done regarding Dumbledore and Grindenwald’s relationship as well, work left to the remaining three films. Similarly, Nagini (Claudia Kim) is overlooked. Best known as Voldermort’s serpent companion, she still exists in human form and befriends Credence after they meet in the circus. Kim has about two lines in the whole movie and spends most of it looking very worried. If we don’t see much more of her as the series progresses, then Rowling might as well have left her out.

This brings us to a major criticism of Crimes of Grindenwald and one that I hope is corrected in the next film. The treatment of women, from lead character Tina to Newt’s fawning assistant, Bunty (Victoria Yeates), isn’t flattering. With the exception of Queenie, most are secondary to their male counterparts. Vinda (Poppy Corby-Tuech) does the bidding of Grindenwald, Nagini comforts Credence, and Bunty can’t seem to get a handle on any fantastic creature without Newt around. Even Tina is sidelined. The tenacious auror who proved all of the Magical Congress of America wrong, she does one thing of actual consequence – zapping Theseus, who is in hot pursuit of his brother, with a spell. Most maligned, however, is Leta. The embodiment of the tragic mulatto, she doesn’t get her due; rather than coming into her own, she is defined by her relationship to other men, be it Newt or Theseus or Credence. Nevertheless, I found Kravitz’s performance most moving, and having just seen the film for the nth time, I’m still picking up the pieces of my broken little heart. If Crimes of Grindenwald is an opening act for what’s to follow, then I’m very open.

Released: 2018
Prod: David Heyman, J.K. Rowling, Steve Kloves, Lionel Wigram
Dir: David Yates
Writer: Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Ezra Miller, Zoë Kravitz, Callum Turner, Claudia Kim, William Nadylam, Kevin Guthrie, Jude Law, Johnny Depp
Time: 134 min
Lang: English, some French
Country: United Kingdom
Reviewed: 2019

Lara Croft: Tomb Raider (2001)

lara-croft-tomb-raider

Lara Croft: Tomb Raider is what it is, and that is not a film I would normally watch. But triggered by an urge to clean my Netflix queue and not use my brain yielded this gem. Well, not a gem exactly but also not the hardened lump of excrement I was expecting. I might even say I enjoyed it, some elements at least. The movie is campy fun, filled with bracing action but also economical in execution. Angelina Jolie doesn’t flinch in the title role and offsets some though not all of my concerns about the character, best known as the busty star of a popular video game franchise.

Since I’m unfamiliar with Lara Croft or her tomb raiding world, I was prepared to take everything at face value. So she’s a titled gentlewoman living alone, with the exception of her butler (Chris Barrie) and personal tech guy/hacker (Noah Taylor), on a vast estate inherited from her late father. Sure, that makes sense. So all nine planets (even you, Pluto) are set to align for the first time in 5000 years, possibly causing a lot of weird stuff to happen. Okay, whatever you say. So the Illuminati are trying to get their hands on a key, which is a clock, which will allow them to find two halves of a triangle, which together will give them unlimited power. Um, fine, why the hell not? Accept these truths and you are on your way to enjoying, or not hating, the movie.

It manages to keep a balance between serious action and pure silliness. The fight sequences come fast and furious, and it’s no wonder Lara is so fit. She sometimes engages in battle with nifty virtual simulation courtesy of her tech guy, but when she locks horns with Manfred Powell (Iain Glen), a member of the Illuminati tasked with retrieving the key, the action intensifies. Pursuit of the key and magical triangle things take the characters across continents. They travel to Cambodia, Italy, and Siberia, engaging in a mix of swordplay, gun fights, martial arts, and bungee dancing. The action makes good use of location and allows the story’s video game roots to show through. Occasionally these scenes drag on, but there’s enough kinetic energy to keep the film moving.

There’s also a good amount of levity, not all of it intentional. I was most amused by the droll demeanor of the sidekicks. During one intense fight when Powell’s men are trying to steal the clock from Lara’s mansion, the butler gamely gets kitted out for battle, only to miss the action. Julian Rhind-Tutt also has a small role as a kind of preening lackey that reminded me a little of Gollum and made me smile. This is a movie where ancient stone statues come to life and something called time storms, which are fiery orbs that can reverse time, are a thing, so hammy lines spoken seriously (“we’re going into the belly of the beast – and out of the demon’s ass”) come with the territory.

Jolie’s performance makes this film better than it might be. Lara Croft is clearly the product of dudes’ imagination and I’m not a fan of her needless sexualization. But if Jolie doesn’t downplay her character’s physical appeal, she at least plays up her other qualities. Lara is obviously an equal if not superior to the Illuminati, a bunch of old white dudes and cunning Iain Glen. Even James Bond acknowledges her intelligence and physical strength. Daniel Craig, testing his American accent, plays fellow tomb raider and Powell’s hired gun, Alex West. He and Lara share a history and don’t care much to hide their ongoing attraction. That lingering romance might create sparks for some, but I was more impressed that a male character in an action movie respected and deferred to a strong female protagonist. Do we still call that progress?

Released: 2001
Prod: Lawrence Gordon, Lloyd Levin, Colin Wilson
Dir: Simon West
Writer: Patrick Massett, John Zinman
Cast: Angelina Jolie, Daniel Craig, Iain Glen, Noah Taylor, Chris Barrie, Julian Rhind-Tutt, Jon Voight
Time: 100 min
Lang: English
Country: United States
Reviewed: 2016

Rogue One: A Star Wars Story (2016)

rogue-one

The first feature of the Star Wars Anthology, a series in but apart from the main timeline that includes Episodes One through Nine, Rogue One is a scrappy but satisfying film befitting of its story and characters. Written by Chris Weitz and Tony Gilroy and directed by Gareth Edwards, it doesn’t have the pedigree of last year’s The Force Awakens and lacks a perfectionist streak that helped tighten, narratively and visually, the better Star Wars movies. Nevertheless, it compensates with some fine performances and a grittier story that expands on universe.

What I like about Rogue One that also sets it apart from the other films is the narrowness of its plot. The main series concerns itself with great galactic matters, and though its heroes embark on defining missions (e.g. destroy the Death Star, find Luke Skywalker), the movies tend to swell around their own mythology. This one is scattershot, especially the first half hour, but never bloated. Set just before the events of A New Hope, the story simply is about a band of outcasts who try to steal the plans for the Death Star. They are led by Jyn Erso (Felicity Jones), a sometimes criminal whose scientist father, Galen (a very noble Mads Mikkelsen), was compelled by the Imperial Army’s Orson Krennic (Ben Mendelsohn) to help the Empire construct the weapon when she was still a child. Some fifteen years later, the Rebel Alliance gets wind of the project and wants to use Jyn to locate her father, whom she hasn’t seen since he was taken away. After a brief rendezvous with extremist leader Saw Gerrera (Forest Whitaker), she teams up somewhat reluctantly with Rebel officer and spy Cassian Andor (Diego Luna), reprogrammed Imperial droid K-2SO (Alan Tudyk), Imperial defector and pilot Bodhi Rook (Riz Ahmed), blind, monkish warrior Chirrut Îmwe (Donnie Yen), and his well-armed protector Baze Malbus (Jiang Wen). Together, they planet-hop trying to find the information they are looking for.

At this point, if you’re wondering what the hell the Empire is and who these damned Rebels are, then you may find this movie a little inaccessible and some of its references obscure. Rogue One expects its audience to be well versed in Star Wars lore, and a good working knowledge of the first movie, which is to say the fourth episode, which is to say A New Hope, is highly recommended. If you need to catch up, the Death Star is a moon-sized planet killer created by the Empire to assert its control over the galaxy, one that is far, far away. The Empire is a totalitarian regime, born out of the events from the 1999-2005 trilogy and exerting its full might during the original series. They are opposed by the Rebel Alliance, who want to restore democracy to the galaxy.

Those who grew up with A New Hope will find that this movie does more fan service than The Force Awakens, which was aimed at a broader audience and intended to introduce Star Wars to a new generation. Rogue One has a less glamorous role, filling in a lot of narrative gaps and bridging the first two trilogies. In fact, it leads directly into Episode Four in ways that were more surprising and exciting for me than seeing Han Solo and Chewbacca return to the Millennium Falcon. There were certain “oohs” in my opening night audience that warmed my fangirl soul to the core. Without revealing too much, some of the CGI magic will take your breath away and transport you back to 1977.

Streamlined as the plot may be, however, the film still lacks an elegance one would expect from the franchise. The first thirty to forty minutes require a detailed flowchart just to keep track of all the movement between characters, locations, and alliances. Ironically, once the story settles down, things really begin to take off. It moves light and fast, and one reason is that there are no abstract discussions about the Force or existential meditations on the Jedi’s place in the galaxy to weigh it down.

The dialogue is definitely clunky though, and the writing is one of the film’s main weaknesses. At one point, Galen and Jyn share what should be a moving scene, one of the three they have together. Rather than tender and affecting, it comes across as rushed and mawkish. Similarly, Chirrut’s comic interjections are lobbed haphazardly and land with a thud. K-2SO compensates with some wry humor and impeccable comic timing, thanks largely to Tudyk.

The rest of the talented and versatile cast go a long way to smooth the bumps. Last year, I unashamedly shed tears when a woman, a black guy, and a Latino dodged blasters and TIE fighters to best Darth Vader’s grandson. This time, I got misty eyed when Jyn roused her motley crew of non-white dudes to do their part for the Alliance. Jones is a (ahem) forceful lead, and like Daisy Ridley, who played Rey in The Force Awakens, she exerts an iron will that belies her slight physical stature. In many ways, that determination is emblematic of the whole group. No one would have pegged any of these stars to lead a global franchise, but here they are like their characters, doing their part with sheer wit and resolve.

Of Jyn’s gang, Luna and Ahmed have the most prominent roles and both show off a different kind of hero. Cassian’s commitment to defeating the Empire causes him to act in ways that initially seem indifferent and even amoral, but Luna gives his character a quiet strength that makes him one of my favorites. Ahmed, who is finally getting the recognition he deserves this year, does something similar with Bodhi, but after a promising introduction, his character starts to fade. Yen and Jiang also deliver strong performances and have standout moments, ones that will please home audiences in Hong Kong and China and introduce them to new ones abroad. But they too seem to be constantly searching for their character. Though the film’s strength is in its cast and in this scrappy band of brothers and sister, the script doesn’t do enough to maximize their talent or distinguish their characters. Even the dynamic Whitaker is left hanging in what amounts to an awkward cameo.

Still, Rogue One personalizes the war, and war itself, in ways that its loftier predecessors did not. Abstract principles and ideals underlie a story that’s told in small, individual battles. Our heroes aren’t the best fighters or the chosen ones tasked with overcoming Evil against impossible odds. Their main antagonist is, not unlike them, an important but ultimately expendable asset (or as Variety put it, a “mid-rank Nazi functionary”) trying to navigate the larger forces and events around him. The action is much closer to the ground, and even with a final well orchestrated space battle, it’s the dirty, frantic firefights, the ones that might double for images from the evening news, that make the biggest impression. They most movingly tell the stories of those who bear the cost of fighting for our ideals.

This is the trailer you’re looking for:

Released: 2016
Alt Title: Rogue One
Prod: Kathleen Kennedy, Allison Shearmur, Simon Emanuel
Dir: Gareth Edwards
Writer: Chris Weitz, Tony Gilroy, John Knoll (story), Gary Whitta (story)
Cast: Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen, Mads Mikkelsen, Alan Tudyk, Riz Ahmed, Jiang Wen, Forest Whitaker, Guy Henry, Genevieve O’Reilly, Jimmy Smits, Sharon Duncan-Brewster, Jonathan Aris, Alistair Petrie, Valene Kane, Daniel Mays, James Earl Jones, Guy Henry, Anthony Daniels, Jimmy Vee, Peter Cushing (kinda), Carrie Fisher (kinda), Angus MacInnes (kinda), Drewe Henley (kinda)
Time: 133 min
Lang: English, various alien languages
Country: United States
Reviewed: 2016

The Sorcerer and the White Snake (白蛇傳說之法海)

sorcerer and white snake

The Legend of the White Snake is a centuries old story that is varyingly about good and evil, religion and superstition, and plain old immortal love. It’s the stuff of movies, and there have been many (notably Tsui Hark’s 1993 Green Snake). This 2011 effects-laden martial arts adventure draws on all of these. In trying to appeal to everyone, however, it fails to truly satisfy anyone. Sorcerer lacks a consistent tone and wraps several films into one.

Parts of this sweeping whirlwind though stir up the emotions with an unsuspecting deftness. I didn’t expect a blockbuster with big box office dreams to turn on the feels, but at least one of the major plotlines resonates with the source material. At the heart of the story are Suzhen (Eva Huang), a beautiful white demon snake, and Xu Xian (Raymond Lam), a simple – and human – herbalist. They fall in love after she rescues him from a lake with a deep, almost otherworldly kiss of life. He thinks he’s dreamed the encounter until she reappears to him in human form.

It seems odd that such an enchanting creature would be so drawn to a humble medicine man and the story jerks forward a little too quickly. But Huang has an ethereal presence that wants to belong in an untarnished landscape like Hangzhou’s West Lake, where the story takes place. The setting evokes a distant fairy tale, and Suzhen desires Xu Xian’s love with such purity and earnestness that one feels the story can’t take place anywhere else.

Their romance is set against a bigger, noisier backdrop though, one literally clanging and crashing with gongs. Jet Li plays Fahai, a monk determined to rid the world of demons. He captures them in all their frightening female forms – and it is women who start all the trouble. Disguised as nymphs and enchantresses, they gently pluck their instruments while looking coyly askance or slink out of bamboo forests wearing bed sheets like some fantasy porn, only to reveal themselves as squawking bat demons. Luckily there is a man to catch these murderous creatures. Fahai eventually deposits them into a large stone medallion, a purgatory of sorts, where demons meditate on their evil ways until they sufficiently repent and are released.

Fahai operates according to strict moral absolutes, which makes him feared and effective but which also leaves him struggling to justify his entire belief system after something happens to gray the line. Li, with his stern demeanor and calculated movements, exudes physical and moral discipline. When Fahai is forced to confront his own fundamentalism, there is an honesty that complements Suzhen and Xu Xian’s devotion.

What doesn’t align as well is a subplot involving green snake Qingqing (Charlene Choi) and her playful attempts to win over Fahai’s acolyte, Neng Ren (Wen Zhang). Once again, Choi is cornered into her default role. Despite being an adult woman, she reverts to her Twins act of yore, flirting and giggling like she’s an eighteen-year-old child bride. It’s distracting and discordant and can only be a self-serving ploy to win a younger demographic. It does match some of the jaunty slapstick, like when Suzhen brings Xu Xian to meet her demon family, animals who transform rather poorly into humans (and Hong Kong all stars). But this goofy, New Year’s-esque tone is a confusing artistic choice that just seems out of place.

The film runs into more problems with its subpar effects. Sorcerer thinks it’s destined for great, international things. A martial arts fairy tale, especially one fronted by Jet Li, might appeal to audiences beyond Asia, but not when it’s propped up with cheap effects that don’t match the epic scale the movie is going for. The opening scene features a fierce fight in the snowy mountains between Fahai and a demon played by Vivian Hsu. The two look like paper cutouts flying across static backdrops in puppet show. A later battle with a bat demon involves such a flurry of CGI that it’s hard to tell what is going on. Focusing the effects on a few choice scenes might have tightened the story rather than spreading it so thin.

Hong Kong trailer:

International trailer:

“Promise” (許諾) by Eva Huang and Raymond Lam:

Released: 2011
Alt Title: It’s Love
Prod: Chui Bo-Chu 崔寶珠
Dir: Tony Ching 程小東
Action: Tony Ching 程小東; Wong Ming-Kin 黃銘健
Writer: Charcoal Tan 張炭; Tsang Kan-Cheung 曾謹昌; Szeto Cheuk-Hon 司徒卓漢
Cast: Jet Li 李連杰; Eva Huang 黃聖依; Raymond Lam 林峯; Charlene Choi 蔡卓妍; Wen Zhang 文章; Vivan Hsu 徐若瑄; Jiang Wu 姜武; Miriam Yeung 楊千嬅; Chapman To 杜汶澤; Lam Suet 林雪; Song Wenjia 宋汶嘉; Angela Tong 湯盈盈
Time: 120 min
Lang: Mandarin/Cantonese
Country: Mainland China
Reviewed: 2016