Posts Tagged ‘Awkwafina’

One of the nice things about Marvel Comics, back in the days of my youth, was how diverse they were. I mean this not in the slightly reductionist modern sense, where it is often just a question of ticking boxes during the scripting and casting stages, but in terms of the tone and subject matter of the comics themselves. When I was about seven my mother bought me a discounted three-pack of different Marvel titles as a holiday treat. One of them was about Spider-Man and Ghost Rider fighting an evil magician in an amusement park; the next was a grandiose underwater piece of high fantasy with Namor the Sub-Mariner; and the third was something rather unexpected, a book entitled (in full) The Hands of Shang-Chi, Master of Kung Fu, which seemed to be some sort of spy adventure with a lot of pulp influences and Asian cultural references.

Master of Kung Fu seemed to be happening in its own little world, completely separate to the other Marvel books (though the character ended up fighting the Thing, amongst other superhero characters), but it seems we have now reached the point where Marvel Studios have already made movies about every other character with any kind of traction, and so even outliers like Master of Kung Fu are now getting the big-screen treatment – Eternals, due out in a couple of months, is likewise based on a book not originally intended to share a universe with Spider-Man and all the others. (I once made a joke about Marvel doing movies based on characters like Squirrel-Girl and Brother Voodoo; it now just feels like it’s only a matter of time.)

And so I found myself in the foyer of a bijou cinema in the depths of Somerset, asking for a ticket for the evening showing of Shang-Chi – and until a few years ago I would have never expected to ever be typing that sentence. The full title of the film is Shang-Chi and the Legend of the Ten Rings, and the director is Destin Daniel Cretton, who got the job off the back of the (rather good) legal drama Just Mercy.

Our hero is played by Simo Liu, who is an amiable screen presence, and when we first meet him he is living in San Francisco and working as a parking valet along with his best friend Katy (Awkwafina), who is there to do the ironic comedy relief. Neither of them have figured out what to do with their lives yet, but destiny (not to mention Destin) gives them a little push when they are menaced on the bus by a gang of toughs led by a chap named Razor Fist (Florian ‘Big Nasty’ Munteanu). ‘I don’t want any trouble!’ cries Shang-Chi in the time-honoured chop-socky manner, but the bad guys do want trouble, and so it behoves our lad to break out his invincible kung fu skills.

Yes, it seems he is a parking valet with a past: son of Wenwu (Tony Leung), an immortal warlord who is possessor of the ten rings of the title: as well as letting him live for a thousand years, they also make him unstoppable in battle (except when the plot requires it to be otherwise). Shang-Chi was raised by his father’s criminal empire to become the perfect warrior and assassin, but he threw a bit of a teenage strop and ran away to America instead.

But now it seems his dad wants a reunion. Wenwu is seeking to gain access to Ta Ro, a magical realm in another dimension filled with fantastic sights and mythical creatures (not to be confused with K’Un-Lun from the Iron Fist TV show, a magical realm in another dimension filled with fantastical sights and mythical creatures, of course, or indeed any of the vaguely similar locales in the other movies), from whence his wife (and our hero’s mum) came from. Wenwu’s children have a role to play in this scheme, but what is it? And why is Wenwu so determined to reach Ta Ro? Could the survival of the universe be in peril, again?

Master of Kung Fu’s nature as a book only tangentially linked to the rest of Marvel’s output was exemplified by the fact it featured characters heavily implied to be the descendants of James Bond and Sherlock Holmes, while Shang-Chi’s original father (dear me, only when writing about comic book universes to you end up using formulations like ‘original father’) was the fiendish Dr Fu Manchu, Sax Rohmer’s diabolical mastermind and racist stereotype as featured in many novels and movies. Then again, at various points Marvel’s sprawling cosmology has included such improbable inhabitants (mostly licensed from other sources) as Godzilla, Dracula, the Transformers, and the black monolith from 2001: A Space Odyssey (the monolith’s own comic book series was not a big seller for some reason).

These days, of course, you can’t really do a movie with Fu Manchu as the bad guy, to say nothing of the rights issues involved, and so Shang-Chi’s parentage has been tweaked. This has been quite inventively done: the Ten Rings have been a story element in these films since the very beginning, and Tony Leung’s character seems to be at least in part an attempt to placate that small segment of the Marvel audience annoyed with the presentation of the Mandarin back in Iron Man 3. This is done deftly enough that it shouldn’t feel too weird or fussy to normal people in the audience, but I have to say that some of the links and cameos connecting this movie to the wider Marvel enterprise feel rather gratuitous and contrived this time around.

Nevertheless, it eventually becomes very clear that a Marvel movie is what this is – if I were to be reductionist myself, I would say that it’s clearly trying to emulate the success of Black Panther, although using Chinese culture rather than Afro-futurism as its starting point. I thought this was rather a shame – the first act or so of the film, which actually resembles a genuine kung fu movie, is superbly entertaining, with good jokes and inventive action choreography. However, it slowly transforms into what’s basically just another CGI-based fantasy spectacle, becoming slightly bland and heftless along the way. The issue with traditional Chinese culture is that it’s a real thing, and everyone involved seems to have been very wary of doing anything that might cause offence (they likely had one eye on the potentially vast Asian box office returns too), and the film loses a lot of its wit and pop as a result.

Still, a great deal of goodwill has been built up by this point, and Michelle Yeoh pops up to do some exposition as Shang-Chi’s auntie, so the film remains very watchable till the end. But you can see why the film’s not called Master of Kung Fu – there’s not much sign of that in the closing stages of the film, which I was a bit disappointed by. Master of the CGI Special Effects Budget is a less engaging proposition.

This is a fun film and unlikely to disappoint the legions of devotees Marvel have gathered to their banner over the last decade-and-a-bit; the action and humour are all present and correct, and Tony Leung in particular manages to give the film a bit of gravitas and depth (on one level this is another saga of a dysfunctional Asian family) But on the other hand, one of the main alleged weaknesses of the Marvel films, the fact that they are all ultimately a bit samey, is also arguably on display: no matter how quirkily and originally they start out, everything always concludes with a slightly bloated climax slathered in visual effects. But as long as these films continue to make such immense piles of money, this is unlikely to change. Shang-Chi isn’t as distinctive as it promised to be, but it’s still an engaging piece of entertainment.

Read Full Post »

One of the running themes hereabouts over the last umpty-tump years has been the way in which the cinematic landscape has been changing – not just with the Death of the Movie Star, or the fact that virtually every really big film these days is financed by Disney, but also in an odd form of cinematic climate change: you used to get certain kinds of films only at certain times of the year. Big genre movies started to show up around the beginning of May, had their moment in the sun, and were all finished by the end of August, to be replaced by early awards contenders. Nowadays, of course, you can potentially come across something hoping to be a blockbuster at any time of the year; no month is immune to the spread of big dumb genre movies.

It must make it trickier for anyone looking to release the less commercial kind of movie and make an impression – but still they soldier on. Good word-of-mouth and early buzz still counts, and on this score Lulu Wang’s The Farewell has a good chance of doing okay for itself – good, but not great, for this is still a slightly oddball film with a couple of elements which can’t help but impair its chances of connecting with the wider audience.

The film opens in New York with Billi (Awkwafina, which – should you be wondering – is the stage name of the performer Nora Lum), a young Chinese-American woman struggling to find her place in the world – she is far from financially secure and has a strained relationship with her parents. However, she is very close to her grandmother, Nai Nai (Zhao Shuzhen), who still lives in the old country.

So when she learns that her grandmother has been diagnosed with terminal lung cancer, Billi is deeply upset – although it’s not entirely clear what’s more distressing to her, Nai Nai’s condition, the fact that her family have chosen to keep Nai Nai in the dark about this, or their decision to exclude her from the family get-together that has hastily been convened, on the ground that her American acculturation will make it impossible for her to maintain the pretence that her grandmother is really okay.

Apparently this is how things are routinely done in Chinese families: learning you are dying of cancer is considered to be upsetting and bad for your health, and so people are routinely lied to. In this case it extends to Billi’s clan flying in from all over the world, for the (fake) wedding of her cousin to his understandably confused-looking girlfriend. Despite her parents’ wishes, Billi ends up flying to China to say goodbye along with everyone else – but will she be able to keep herself from blurting out the truth? Should she even try?

The consensus review for The Farewell would probably consist something along the lines of ‘One of the best/most moving films of the year’, more likely than not accompanied by five stars. Well, it’s certainly better than Angel Has Fallen or Fisherman’s Friends, and this is certainly a film that’s been made with a great deal of skill and intelligence, featuring the kind of performance from Awkwafina that launches careers.

Based solely on the premise, you would expect this to be a film about grief, and loss, and quite possibly the differences between western and Asian cultures, and to some extent you would be right. However, it’s the kind of movie which starts off looking like one thing but actually ends up being something quite different. There’s actually relatively little in the film directly addressing issues of grief and bereavement, although much of the film’s drama derives from the tension resulting from most of the characters being in the sway of strong emotions they are unable to express. (I suppose in itself this is possibly intended as a new way of exploring the stereotype of the supposedly inscrutable Asian.)

Instead, the film starts off with a nicely underplayed scene setting up the theme of the morality of deception, particularly when the person you’re deceiving is a close relative: Billi and Nai Nai share a pleasant, loving long-distance phone call, in the course of which they repeatedly lie their heads off to each other. Neither is left any the worse for the experience, which of course makes Billi’s upset when she learns of the greater lie perpetrated upon her grandmother a little hard to justify. There is a genuine attempt to explore the difference in attitudes, and the issue of who is really being kind to who in these situations. However, the film has other things to consider within a relatively brief running time: what it means to be a product of two cultures, for one thing; Chinese life in general, for another. The film may largely occur in subtitled Mandarin, but the family tensions and concerns it deals with are to some extent universal.

Prior to this film, I only really knew Awkwafina from Ocean’s Eight, where I felt she turned in a fairly indifferent performance in an undistinguished movie – here, though, she is very good, authentic, believable, and often touching. This is particularly true of her scenes with Zhao Shuzhen, who delivers the kind of turn that people who vote for acting awards often really respond to – it might be worth a flutter on Shuzhen picking up a few Supporting Role gongs next awards season; this is the kind of film juries like to reward, but I’m not sure it’s really going to be a contender for the big prizes.

Anyway, this is a thoughtful and well-played film, with an engagingly compassionate sensibility. It may just be that I am emotionally atrophied (too many Jason Statham and Gerard Butler movies, no doubt), but I didn’t find it to be either as absolutely heart-warming or tear-jerking as some others seem to have done – there are certainly moments of piercingly acute pathos and emotion, but for the most part the film takes an oblique and underplayed approach, encouraging the audience to find their own meaning in events on screen rather than actively trying to manipulate their emotions. I suppose this is one of the things that make The Farewell a drama rather than a melodrama; regardless, it is an impressive movie which deserves its success.

Read Full Post »