online L_o_v_e Chinese Movie free download Film review cast overview

L-O-V-E Chinese Movie

Cast And Crew
Region Taiwan
Language Mandarin
Runtime 93 minutes
Category IIA(Hong Kong)
Film-Type Feature Film
Genre Romantic
Subject Love
Director
Jiubadao
Fang Wenshan
Chen Yixian
Huang Zijiao
Cast
Ruan Jingtian
Tianzhong Qianhui
Chen Yirong

Reviews And Overviews

On Tuesday, August 4th, Love HKFilm.com's webmaster got on the MTR and someone asked him, "Hey, when are you going to update your site?" The lesson: when people on the MTR ask you to update your site, you damn well better do it. This is a true story, really.
This update features a review of Overheard, plus a bunch of PanAsia reviews by people who can actually write.
Next time: We'll review something. We're making this up as we go.
The film is a visual feast, full of colorful costumes, fancy effects, and outrageous pageantry, but it would all be for naught without an engaging plot (not to mention solid performances from its lead and supporting actors – Mindee Ong in particular). The characters in 881 don’t just have issues; they’ve got an entire subscription. When her “secret” Getai performances become front page news, Big Papaya finds herself kicked to the curb by her strongly disapproving mother, a woman who just might have some secrets of her own. Little Papaya’s health is deteriorating rapidly, so much so that she tries to keep it a secret from her loved ones. Guan Yin can’t say a single word, but in many respects, he’s the character who’s got the most to say – in particular, about his feelings for both Papaya sisters. Even the blowsy Auntie Ying is dealing with some unresolved tension with her twin sister, the Goddess of Getai.
In the opening salvo of this review, I wrote at length about films with bad tonal shifts. 881 changes its tone frequently – so much so that it might initially throw off a non-Singaporean viewer. But ultimately, these shifts never sink the film. For instance, the movie starts out with Guan Yin, a character strongly reminiscent of Takeshi Kaneshiro’s in Fallen Angels. The heavy usage of voiceover narration – as well as the accompanying onscreen images – seems to be at once an emulation and a parody of one of Wong Kar-Wai’s cinematic hallmarks. The film then shifts into some low comedy involving vigorous Hokkien wordplay, before shifting gears once more with the outrageous fantasy of a goddess with superpowers. And yet it’s all held together by the emotional through line of its two heroines