The Wandering Earth (2019) [Film Review]

The Wandering Earth; or, Space: 2019
     Beijing No. 3 Transportation Division reminds you. Routes are countless. Safety is foremost. With unregulated driving, your loved ones might end up in tears.
The Wandering Earth is the latest Chinese production which broke many financial records and climbed the divine top of the domestic box-office after such recent hits as Wolf Warrior 2, Operation Red Sea, and The Mermaid. It is based on a novella of the same name written by science-fiction author Liu Cixin and tells the larger-than-life epic tale of a few good men (and one woman) who are on a mission to save mankind.
Release Info
Directed by: Frant Gwo Starring: Qu Chuxiao, Ng Man-tat, Zhao Jinmai, Wu Jing
Language: Mandarin Original Title: 流浪地球 Runtime: 125 min
 
Plot
In the year 2061, the Sun expands rapidly and is about to devour the Solar System within the period of 300 years. In order to survive, countries on Earth join forces, resources, and technology in order to realise the most daring plan ever invented: move our home planet 4.2 light years away to the Alpha Centauri system. Liu Peiqiang (Wu Jing) is a Chinese astronaut assigned to a space station that will help Earth navigate as it moves out of the Solar system. He leaves his son, Liu Qi (Qu Chuxiao), under the care of his grandfather, Han Zi'ang (Ng Man-tat). Seventeen years later, adult Liu Qi and his adopted sister, Han Duoduo (Zhao Jinmai), sneak out from the underground city and grandfather Han runs searching for them. As Earth passes by Jupiter, the planet’s gravitational spike causes devastating earthquakes that disable many fusion thrusters across the globe and put the Earth on a collision course with Jupiter. The only way our protagonists can save the day is by restarting the thruster engine located in Sulawesi.
 
Moving Out: Extreme Edition
Director Frant Gwo, having only two directing credits prior to this film, is allegedly a major sci-fi buff who spent a lot of years studying the genre. Evidently, The Wandering Earth is a visually pleasing piece of entertainment that very much feels like “The Best of Science Fiction” compilation. Two years in the making, three thousand concept maps and countless storyboards resulted in a mash-up filled with nods and references to such classics as Armageddon (1998), The Day After Tomorrow (2004), 2001: A Space Odyssey (1968), Blade Runner (1982), and Space: 1999 (1975-1977).
 
The Wandering Earth was indeed a financial risk for the Chinese movie industry, considering the fact that they have never done a movie on such a big scale before, but they certainly passed this test. You can feel the grandeur of the movie’s rich world in almost every shot, which is enhanced by Roc Chen and Liu Tao’s towering music score. The studio sets and practical effects combined with CGI are definitely top notch across the board. Hollywood was given a good run for their money in this aspect.
 
However, excellent technical execution does not mean that The Wandering Earth can be regarded as an instant masterpiece by default. There are a few things which really distract the viewer from fully enjoying what is presented on the screen. First of all, the film lacks necessary exposition in the moments where it very much needs it. The first act and the ending have exposition, but the middle is all about the action without explanation. Secondly, there are too many characters doing too much epic stuff. From a merry band of three heroes, they grow to (about) 10 in the finale. Thirdly, the film desperately wants to pass itself as memorable. Remember the driving safely quote from the review’s beginning? It is reiterated by the truck’s AI at least 6 times throughout the story, hoping to enter the pantheon of such classic citations as Tears in Rain monologue or Open the Pod bay doors, HAL exchange.
 
Yet, while not matching the greatness of its predecessors, The Wandering Earth is still an entertaining flick. The story is interesting, the stakes are high, and there are some good performances by Qu Chuxiao, Li Guangjie, Ng Man-tat, Zhao Jinmai, and Wu Jing. An honourable mention goes to Arkady Sharogradsky for providing the most over the top portrayal of a Russian astronaut in the history of cinema.
 
Recommendations
All things considered, if you thought that, for example, Armageddon is THE most bombastic and overblown motion picture ever made, then you are wrong. The Wandering Earth is Armageddon but on METH, and it communicates the message of generational sacrifice. It is a fun sci-fi movie for one time. Grab your popcorn and enjoy the story about how the Chinese tamed “the right stuff” and rescued our degenerate Caucasian butts by setting Jupiter on fire.
Overall score: 7/10

Monday (2000) [Film Review]

Monday; or, Don’t Do Alcohol
     The forecast for Chiba calls for sun, with strong southerly winds. Tomorrow will be cloudy, with south-westerly winds. The day after tomorrow will be partly cloudy with winds increasing.
Some of you probably experienced such a situation at least once. There was a hard party, you drank too much and passed out at some point only to wake up having no memory of your last night’s activities. SABU’s 2000 movie Monday takes this premise as its focus point, but also gives it a double spin.
Release Info
Directed by: SABU Starring: Shinichi Tsutsumi, Naomi Nishida, Yasuko Matsuyuki
Language: Japanese Original Title: マンデイ Runtime: 100 min
 
Plot
Koichi Takagi (played by Shinichi Tsutsumi) is a typical salaryman with an uneventful job, quiet life, and one annoying girlfriend (Naomi Nishida). All of a sudden, he wakes up in a hotel room. He does not know what day it is or how he got there. Slowly, Koichi starts regaining memories of the past two days and, one event after another, he recalls his unexpectedly shocking drunk trail.
 
The Worst Day of the Week
Two words got me into checking this movie out. The first, “SABU”, because I have already seen this director’s hilarious Drive (2002) (also with Shinichi Tsutsumi in the lead) and the second, "Monday", because I literally can’t stand this day of the week. Needless to say, the movie hit all the right marks in my book and fulfilled my expectations.
 
However, if you expect an action-packed comedy, then it is better for you to approach this film with patience and zero expectations. Monday is a slow-burning story; in fact, the first act is so slow that Yasujiro Ozu would most certainly issue his seal of approval if he could. Yet, things start to pick up gradually. From a bitter drama the film turns into a dark comedy only to end up being a psychological thriller in the finale. That kind of craziness is what makes Monday so awesome!
 
SABU is very keen on weaving mythological elements into the storylines of his movies and Monday is no exception from that. In order to keep this review spoiler free (even though the movie is almost 20 years old), let me just say that Monday has more than a strong anti-alcohol message and I approve of this (sorry, not a booze fan). Koichi is a good guy and we start to root for him as the film goes on, but even though hot drinks release his inhibitions, they also lead to disastrous consequences.
 
The strongest point of this motion picture is definitely cinematography. Monday has very little dialogue, so the events are told visually. The two outstanding sequences are the yakuza girl (Yasuko Matsuyuki) encounter and Koichi’s sick dance grooves at a night club(!), as seen in the trailer below. In addition to this, the 60s-like upbeat music grealty fits the tone of the picture.
 
With regard to performances, Shinichi Tsutsumi is simply brilliant as a salaryman “on the edge”. This is my favourite performance of his out of all 5 movies he did with SABU. Apart from Tsutsumi, there are many great actors in small yet funny roles, such as Ren Osugi, Akira Yamamoto, Susumu Terajima, Yutaka Matsushige, and aforementioned Yasuko Matsuyuki as well as Naomi Nishida.
 
Recommendations
I recommend Monday to anyone who wants to spend an enjoyable and alcohol-free Sunday evening. I think that the best way to describe this film is by labelling it as something akin to Memento (2000) but way way better, at least in my opinion. I suggest you give it a go because it is a great introduction into SABU’s filmography.
Overall score: 9/10