A Chinese Ghost Story (Remake) – Trailer
Hier der Trailer zum 2011er Remake von A Chinese Ghost Story von Wilson Yip (Ip Man). Sieht ziemlich genauso aus, wie das Original von 1987 mit aufgesexten CGI-Effekten. Könnte ich eigentlich mit leben und Yips Ip Man gehört zu meinen Lieblings-Martial-Arts-Filmen der letzten Zeit, wenn man aber nach dem Review von Twitch geht, scheint Ghost Story 2011 eine ziemliche Gurke wie Transformers, nur mit chinesischen Geisterdamen zu sein. Wir werden sehen.
The acclaim and financial success seem to have pushed Yip to breaking point, however, as his latest project is not only ill-advised in its intensions – a remake of Ching Siu-Tung’s beloved A CHINESE GHOST STORY – but turns out to be a vacuous and tedious CGI-laden crapfest.
Shifting its focus away from the character of Ning (originally played by Leslie Cheung and here taken on by mainland actor Yu Shao-qun) the film instead hones in on demon hunter Yan (Louis Koo). In theory this could make for an intriguing re-interpretation, and present the opportunity for more action, but that is not the case. Yan has unwisely fallen in love with a demon – Siu Sin (Liu Yifei) – and after a brief affair, the moment comes to dispense of her. Naturally, Yan is unable to go through with it, and opts to wipe her memory instead, a decision that fails to sit well with rival hunter, Liu (Fan Siu Wong), especially as he recently lost an arm defending Yan against just such a ghoul.
Wimpy government official, Ning (Yu), meanwhile, arrives at his newly assigned outpost, only to discover that the town is suffering from a crippling drought. The town elders, led by Elvis Tsui (who appeared in the original version of the film), delegate responsibility to Ning to scale the mountain and find out what’s become of their water supply, only for him to meet and fall in love with Siu Sin – now under the tyrannical governance of tree demon Lou Lou (Kara Hui), who is also responsible for the lack of water. It is around about this point that the film’s plot begins to swiftly collapse in on itself and descend into one long, repetitive and over-bearingly bombastic effects showcase, which while no doubt beneficial to the Korean effects house responsible for turning Kara Hui into a shrieking, swirling, all-engulfing mass of branches, vines and goodness knows what else, those audience members looking for coherent narrative closure or anything vaguely reminiscent of the original will be left bored, confused and more than a little disorientated.