This review may contain spoilers
At first glance, there was nothing interesting about this series. It was just another period romance with a political angle. There was the time travelling, which was totally random and made no sense in the context of the theme. But somehow, halfway through, the series turned into something special. Liu Shi Shi’s Ruoxi was the reason why the first part of the series was so bad. She was also the reason why the second part was so good. Ruoxi took up about 99% of the screen time, a huge burden for any actress to carry. Liu Shi Shi did not have a good grasp of her character in the beginning. She played a modern woman transported into the body of a sixteen-years-old girl, then proceeded to act cute, childish, and completely unlike her real 20-something self. She didn’t give the impression of someone lost in time, trying to a survive in a completely new world. Her worst scenes were the lighthearted ones, like when she was bickering with Mingyu or teasing the princes. Liu just didn’t have that sparkle. She was very pretty, but once she smiled and showed her teeth, the magic was lost. It wasn’t until the second half that you start to appreciate her. She was at her best in scenes that called for anguish and tears. There was a restrained, elegant quality to her acting that fit with the pensive mood of the series. Most importantly, she finally clicked with Nicky Wu’s 4th prince.
The show was excellent in showing the slow and painful breakdown of Ruoxi and the 4th prince’s relationship. There was no stupid misunderstanding, no disapproving parents, no evil people to split them up. These were two people who loved each other deeply, but can’t bring themselves to accept each other’s failings and flaws. It was achingly sad and beautifully acted.
The whole time travel thing was just a gimmick and a really bad one. This was a story about relationships and how love was not always as simple as we wished it to be. Love was not ideal, but still beautiful nonetheless.
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South Korean shows are becoming good at taking old ideas, putting their own twist on it, and executing it perfectly. Being set in the distant Joseon period, the crew had to make sure everything from the costumes, the sets, to the props, all go together to create a sense of realism. It felt as if we were right inside that world. They were not afraid to make their actors look dirty, tired, and unattractive. Even the extras were done right, down to the zombie makeup and creepy jerky movements. The production value was sky high with hordes of zombies, bloody battle scenes, and even an undead ship. It was on par with Hollywood, and even better at times.
The acting was on point, nothing over-the-top or melodramatic. Ju Ji Hoon gave a very restrained, believable performance as an initially clueless prince who was learning to care about his kingdom and people. Jeon Seok Ho’s cowardly nobleman was not just a comic relief. You get a sense that he was on his way to redeem himself somehow. Heo Joon Ho as Lord Ahn was just cool without even trying. The show slowly built the characters so that you care about them, instead of just killing them off randomly for the shock value.
It was smart of them to leave out the romance. The plot had to enough substance to stand on its own. It didn’t need to be bogged down with a love story or worse yet, a love triangle. But what sets this series apart was how they used the plague to point out the social inequality that existed then, and still exists now. That was more scary than the zombies.
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Dragon Love is mythical romance in the spirit of Romeo & Juliet, where two lovers are kept apart by circumstances of their birth. She's a dragon princess and he a mere mortal, albeit a very talented one. Their journey to love doesn't offer much in terms of character growth. To make up for that the chemistry has to be jaw-dropping, off-the-charts, out-of-this-world good. Here it falls short.
I'm not questioning Benny and Fennie's abilities, as both have track records of being capable and likeable actors. Their performance isn't wooden, but feels like it's set on autopilot. There's no subtlety or depth. It's like sipping on flat soda, not terrible as much as it is disappointing. At least it doesn't leave a bad taste in your mouth.
This show is fine as a casual watch. If you're a romance fan looking for a typical happy ending, this is probably not your cup of tea.
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I'd love to see more work from this director, who firmly says no to ham and pretty posing, keeping it natural and believable. His style reminds me of Yin Tao, where the magic is in the tiniest of details. Peach Blossom Valley comes alive under his vision as an isolated and idyllic place with its own rustic culture and… lousy food.
The writers understand that every good romance also needs good character development. We have a leading lady who is learning to trust that people outside Peach Blossom Valley aren’t all bad. And we have a leading man who is learning to trust… someone other than himself. They don't try to be too cute and clever with the dialogue, relying on show rather than tell.
And show us they did. Huang Yi's large expressive eyes remind me of Vicky Zhao. Her stolen glances just melts your heart. Wang Hong Yi plays his part with such control, conveying feelings with nano-expressions and the merest flicker of the eyes. His Zuo Jing Lun is so keenly attuned to Qing Qing's every move that you feel like his entire world revolves around her. His pursuit of her is funny, sweet, and at times sad (that theater scene is pure gold). It's wonderful to watch Qing Qing fall in love with him twice, not because of how he treats her but because of how he treats others. Now that’s the kind of maturity and unselfishness I like to see in my romance heroine.
The supporting characters are given the same care and respect. The secondary couple are torn between their attraction to each other and their loyalty to the leads. That loyalty is fleshed out and well-earned. The villain himself is once a hero who gave into his selfish desires. Zuo's mother is a lonely widow who has to be strong for her son's sake, although her love sometimes crosses the line. I find Zuo's bodyguard, Ba Jiu, quite endearing. He bungles his master's romance, then tries all sorts of sneaky ways so that his master can get the girl back.
Like Peach Blossom Valley itself, this is a hidden little gem of escapism. It has a definite place on my rewatch list for Valentine's season.
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Creation of the Gods Ⅰ: Kingdom of Storms
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The heart, and the moral center, is the Western Duke Ji Chang. His kindness is shown, not told. His love for his sons, both estranged or adopted, will move you to tears. Li Xue Jian’s performance reminds me very much of Ian McKellen’s Gandalf. Although old and frail, he emanates warmth, wisdom, and a kind of quiet strength. The physical and mental abuse he suffers is beyond what most people can imagine, but he does not let it break him or waver his belief. I stay tuned just to watch Ji Chang survive it all and see the sun rise on his legacy.
Ji Chang’s foil is the very virile, very tyrannical King Zhou. This is a man so morally bankrupt that he would eat his own son if it gets him what he wants. Kris Phillips looks the part of a brute, with just enough charisma that you can see why a battalion of young men would admire him, even willing to die for him. His relationship with the fox demon Da Ji lends a whole new meaning to the term “animal magnetism.”
The younger actors are more than just bare-chested eye candy. Yu Shi and Chen Mu Chi are well cast in their roles as the sons of Ji Chang and King Zhou, respectively. You see something of their father in both men, yet each is still his own person. Assuming the movie follows the book, you’ll understand the poignancy of their friendship and how it will be sorely tested in the future. Yang Jian, one of my favorite characters, isn’t given much to do here and rightly so. I just wish they made him more of a badass warrior like he is in book. Ci Sha’s portrayal of Yang Jian, while cool, is a little tame.
Can the writing be improved upon? Absolutely. The book has a lot going on, making it extremely hard to adapt into a movie. The writers are right in trimming it down and focusing on a few plot lines. The end result is still in the spirit of the Fengshen Bang, placing kindness and compassion above blind loyalty to an unjust regime.
I'm looking forward to the next installation.
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The show sticks pretty closely the novel, both in terms of plot and characters. Luxiao Lingtong is not just another actor in a monkey suit. He is a monkey who learns to act and behave like a human. Sun Wu Kong has very real human emotions, and you can see all that in Luxiao Lintong’s bright, expressive eyes.
The special effects are rough, so the director wisely keep those to a minimum. The production team rely more on practical effects, which are quite ingenious. I will never forget the underwater palace, the ginseng tree, and the spider demons shooting webs out of their belly buttons!
The video quality is far from HiDef, but the haziness lends a dreamlike, fantastical feel to the show. The costumes and character designs are beautiful and taken straight out of the Buddhist and Taoist pantheons.
This series is clearly made by people who love and respect the original work. They don’t seek to put their own mark on it or “update it for a whole new generation.” They don’t try to follow the latest trends, show off the latest technology, or cater to the whims of the audience. They honor the vision of the author. To me that’s what makes it a classic.
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This review may contain spoilers
As far as Jin Yong adaptations go, this one is subpar. It does have a few bursts of brilliance, but every time I rewatch it I see more flaws. It’s hard to get past the poorly-written characters and hammy acting.Lin Yu Shen is a brilliant actor who needs no dialogue. He can convey so much emotion with just his eyes, gestures, and micro expressions. His Miao Ren Feng is both a hero and a victim. Unfortunately, he spends way too much time being a victim, especially of a loser like Tian Gui Nong.
Qin Jun Jie is a bit of a miscast here. He can act, although his smile is less like a hero and more of a rogue. His demeanor is more suited to irreverent roles like Linghu Chong or Wei Xiaobao, but not a straight up hero like Hu Fei. Unlike the cliffhanger in the book, Hu Fei does get closure on his relationship with Miao Ren Feng in a very emotionally-charged scene. I’m ok with them killing off Miao, but I have a big problem with Hu Fei not avenging his death. For someone whose entire journey is about revenge and justice, this feels like a betrayal of Hu Fei’s character.
Hu Fei’s two love interests are woefully underdeveloped. We only get to see the tough side of Yuan Zi Yi but not nearly enough of her tragic backstory, making it hard to understand her motivations and why she would choose nunhood over Hu Fei. Cheng Ling Su is too perfect to be real or interesting.
The screenwriters really don’t know what they’re doing in making “gray” characters, especially with the likes of Tian Gui Nong, Nan Lan and Fu Kang’an. They waste so many scenes trying to show Tian as a family man only to undo it all at the very end, painting him as a flat, irredeemable villain. As for Nan Lan, the actress couldn’t grasp the complexity of the character. Instead of a woman being torn between two men, she just toggles between them like a light switch. And Fu Kang’an somehow gets his own love story which drags out like a boring palace drama.
Then there’s the overacting the nth degree, especially from veteran actors like Peter Ho and Liu Xue Hua. Many of the supporting actors are so exaggerated they might as well be cartoons. The climatic scene with the extras is just cringe because the director somehow decides that extras can act.
The fight scenes are competent, keeping the wirefu to a minimum. But even the best kungfu choreography is no good if viewers don’t care about the characters. Except for Miao Ren Feng, the rest of them are either annoying or forgettable.
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A lot of time is wasted on slo-mos and long gazes. Pope and Bella can act with their eyes, but their romantic gazes mean nothing without a proper foundation of a love story. So he loves her because she appeared in his dreams? And she falls for him after he shielded her from a flying piece of wood (of his own making, I might add)? It's flimsy. She's just as likely to fall for Methus, who not only saved her but also has more in common with her. But of course that never happens, because we are told ad nauseam that Bella and Pope are "destiny," which is codeword for lazy writing.
The political conspiracy is equally sloppy. The writers build up this mystery of the man in the iron mask. In the end, he turns out to be some random guy we never seen before and don't really care about. There is a plot twist, albeit a poorly set up one, also involving an evil mastermind that we don’t care about.
The time traveling subplot is nonsensical, at best. What makes Methus so special that he gets sent back into the past? Nothing, except that it’s his “destiny.” Fortunately by this point, my brain has already packed up and left for vacation. As for the comedy aspect, the gags are done in the typical over-exaggerated Thai style. It is not enough to save the movie.
Perhaps this review is too harsh. I'm just tired of the dull writing and direction that completely waste the talents of the cast. Pope, Bella, and Ice all deserve a better script.
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Gordon Lam played two different characters here, the tragic Wan Kwong and the goofy Da Kwong. Technically, he played three characters, the third being a merging of these two men as Da Kwong recalled his past incarnation and his lost love, Siu Fu Yung. Sadly, the love of his life was now a ghost and out of his reach. Kwong’s attempts to hold onto her led to many touching and comical moments. While a good actor, Gordon does tend to overact in comedies. Here, he held it back just enough for a pitch perfect performance.
Kathy Chow was a vision of grace. She rocked a qipao like no other. Her best features were her expressive eyes that she used to great effect with Gordon. Her Siu Fu Yung was demure and gentle, but never boring. She was also quite funny in an understated sort of way. Much like Casper the Friendly Ghost, people were terrified of Siu Fu Yung at first then grew to care for her over time.
Florence Kwok was a little annoying as “the other woman”, although it’s not hard to sympathize with her. Wouldn’t it annoy you, too, if your boyfriend started to remember his past life and love for another woman? Kenneth Chan played “the other man,” a true gentleman who gave unselfishly without making the woman he loved feel guilty about it. The rest of the supporting cast were likeable in general. There was a villain, but he was a cardboard cutout type that was dispatched in a very rushed way. Other than that, the writing was spot on. The writers tied up all the loose ends and resolved the love triangle/rectangle in a meaningful, satisfying way.
Massive credits to the director and production team for creating an afterlife that was vivid and rich in details. You’ll see how the ghosts live (kind of), eat, and communicate with their loved ones in the world of the living. This was a showcase of Chinese traditions and beliefs – something TVB series excelled at in the 90’s.
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The series is most notable for the creative shots and camera angles. With competent acting and a fantastic soundtrack, it will keep you on the edge of your seat. I will admit the plot is not so airtight and there is an overreliance on coincidences, but don’t overthink it. Just enjoy the ride.
The one thing I can’t enjoy is the last episode, which is bad on an epic level. It feels like I’m watching an entirely different show, one full of clichés and hammy acting that is the plague of Asian dramas these days. If they could just end it at episode 15 and leave the rest to our imagination, this would’ve made my short list of all-time favorites.
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Vicky’s Lu Yi Ping is one of the most complex and sympathetic heroine. She grew up in an emotionally and physically abusive environment. Like a wounded animal, she’s bitter, vengeful, and tends to lash out unexpectedly. Torn between love and hate, she doesn’t always say what she means and doesn’t mean the awful things she says. That mental struggle is all there in Vicky’s eyes. There's a subtle tension and weariness in the way she carries herself as well. I was glued to the screen rooting for Yi Ping to put down her burden and find happiness, even if it’s with a wishy washy guy like Shu Huan.
Compared to Vicky, the rest of the core cast is a letdown. Ruby Lin doesn’t even bother to figure out what makes her character tick, which is a waste since her Ru Ping could’ve been much more interesting. Alec Su, likeable as he is, can’t do comedy and his attempts to be funny are cringey. Xu Lu is over the top fake as the insane Ke Yun. But the most unforgiveable performance has to be Leo Ku as Shu Huan. Now Leo doesn't have the screen presence of a leading man. He's also a so-so actor with a limited range of expression. His hospital reunion scene with Vicky is meant to be dramatic and heart-rending, but the look on Leo’s face is so dopey it borders on comical. How something like this makes it into the final cut is beyond me. The director should have made Leo redo half of his scenes until he gets it right, or just cast a different actor.
The writing itself fluctuates between the profound and the absurd. Do they honestly expect me to believe that the way to treat mental illness is to make the patient re-enact all the love scenes in their past? Or that a man who forces women he doesn't love to marry him is the most romantic guy in the world? Or that a wife and child beater still qualifies as hero? I get that the show is telling viewers that life - and people - are not black and white. It ends up undoing that premise by sugarcoating everything in an attempt to make us feel all warm and fuzzy.
Don’t focus too much on the show’s flaws or it will drive you crazy like Ke Yun. Just enjoy it for Vicky Zhao as she’s simply wonderful here.
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Chang Pei Hua as the male lead was a nice surprise. Known for playing vapid Qiong Yau heroes, he broke out of that mold by bringing an edge to the character of Hong Ri Sheng. Instead of imitating Chow Yun Fat's style, he had his own unique interpretation of a mob boss that I really like.
Yvonne Zhang has a lovely smile that could melt your heart. You see it in “Lushan Lian,” but you won’t see it in this series. Here, her smile never quite reached her eyes. Her Xin Yu didn’t light up when she looked at Ri Sheng. That spelled doom for their chemistry. I didn’t care for them as a couple.
The breakout star of this show was the uber versatile Sun Xing. He played a sick scumbag in TLTG and was a complete opposite of that here. As Zhang Jie, he was a teddy bear of a man who can be tough and fiercely loyal when he needed to be. His rocky romance with Gu Lan was easily the best thing about this drama. It was so sweet to see Gu Lan, a battered and cynical woman, learn to smile and fall in love with this adorable goofball.
If you’re a fan of Sun Xing, watch this for him because it’s one of his best performances and he doesn’t often get a starring role. If you’re not a fan of Sun Xing, you will be when you're done with this show.
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Ah Wong is not your usual shiny leading man. He is mentally disabled, a child trapped in a body of grown man with a bad bowl cut to match. He represents the best in us, when we were young and most innocent. Your heart will break when he’s hurt, and it will rejoice when he rises to the challenge. Roger Kwok’s performance is spot on, nailing the tiniest detail from the voice, the hand gestures, to the facial expressions. This is his role of a lifetime. No other actor can touch him here, not even Tom Hanks as Forest Gump.
Jessica Hsuan is a very down-to-earth actress who rarely overdoes it. Give her any ridiculous plot and she will keep the story grounded. Her Choi Fung starts out a girl who doesn’t want to be stuck with Ah Wong and tries all sorts of tricks to get out of their marriage. Then she learns to adapt and slowly starts to care for the husband who can never really be a husband to her. Jessica, with her acting style, makes that progression totally believable.
The rest of the cast ranges from decent to very good. The script and the directing are basic. It’s really Roger who makes this show into something unique and memorable.
The reason why I can’t give this 10/10 is in the last few episodes. I have a hard time accepting that a woman would fall for a man who is, in effect, a child. It doesn’t feel right. Choi Fung may love Ah Wong, but to actually be in love? No. Just no.
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In the first series Xiao Yan Zi was a wily, street smart girl capable of taking care of herself and others. In this series she turned into a village idiot who always needed to be saved from her own stupidity. This was not Vicki Zhao’s finest hour, as her acting was so over the top that it hurts to watch. The lowest point was when Xiao Yan Zi carelessly abandoned Zi Wei in the market. What happened to their everlasting bond of sisterhood?
Zi Wei in part II changed from a level-headed girl to a love-obsessed woman (that kissing scene between her and Er Kang was one of most awkward things ever filmed). Her betrayal of her own father was completely out of character. I find it laughable that she and Xiao Yan Zi were hailed by commoners as “The People’s Princesses.” Unlike Princess Diana, they’ve done squat to support the lives of poor people.
Emperor Qian Long, who was so regal in the original series, was reduced to a leering old man here. Wu A Ge went from being a voice of reason to an insecure, angry guy. Er Kang was given more love scenes but not much else to do besides being Zi Wei’s constant rescuer. He was supposed to be the emperor’s bodyguard, but you hardly ever see him at work.
In this sequel, author Qiong Yao gave us more princesses, more costume changes, more lovey dovey scenes, and more Xiao Yan Zi antics. There was more of everything, except a credible story. Sometimes being a good writer is knowing when to stop.
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This review may contain spoilers
This was supposed to be a supernatural romantic comedy. It failed on all three counts. The only thing it was good for was a cure for your insomnia.The writers reimagined present day hell as a space-agey Spirit World. Sadly, this place was kind of dead, in more than one way. It never felt real or convincing as a world parallel to our own. Everything about it was willy-nilly. Rules were set, broken, ignored, rewritten to drag out a plot that went absolutely nowhere.
The show was funny, if your idea of funny was watching a bunch of people scream and shove each other around. There was a lot of that, ad nauseam. Jerry Lamb, as the guardian spirit Siu Bo, managed to squeeze in a few zingers. I got some chuckles, but mostly yawned my way through the episodes.
Roger Kwok and Maggie Cheung were excellent actors, separately. As a couple they never really clicked. They went from boring to downright annoying and selfish by the end of the story. Poor Siu Bo had to risk his neck whenever these two flouted the rules of the Spirit World in the name of “love.” In the end, Siu Bo sacrificed to himself to turn back time, so Maggie’s Ka Yi didn’t have to have to die in the first place and can be together with Roger’s Dak Ming. Let’s be clear about what that meant: everything after episode 1 never happened. All the storylines and character growth were wiped clean. Just because the writers couldn't think of a better way to give the main couple a happy ending. I really couldn't care less if they get together.
The only decent thing about this series was the Nick Cheung-Monica Chan pairing. Neither were likeable at first and their bickering was more tedious than funny. Then sparks started to fly and their love made them better people. But none of that mattered, because every good moment they have together was erased from existence thanks to this cop out of an ending.
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