بحيرة الأوز البري

I wish I could list all the reasons why it was tediously boring, and there are many, such as a too common script of guy on the run meets girl. Mostly filmed at night so cinematographically it was visually sleepy dull. Dialogue casual pointless. Acting not needed as not much happens. I ended up ff through much of it.

The whole story and all people evolve for the huge money rewards in return of catching the wrong doer. The police just took photo of the dead after shooting without mercy. In the end, two female leads just have to go on with their lives with the money the gained after what have happened and he was dead. Great story with amazing close up cinematography. Massive use of shadows and curtains effectively conveys the tensions, anxiety and mistery.

It's very slow paced and has minimilistic dialogues but well acted out and visually the neonoir environment looks beautiful too A tale of crime chase gangster rivalry theft murders and betrayals Definitely a good crime movie that's worth a watch.

"Since the film is entirely spoken in Wuhan dialect (kudos to the main cast and their dialect coaches), for the majority of Chinese audience, which means subtitles is a requisite to understand the plot, Diao perceptibly carves out a tenuous mutual attraction between Zenong and Aiai, and the two fine actors exhibit tenacious resilience in restraint and nuances. For Hu Ge, it is also a physical transmogrification that persuasively shucks off his heartthrob mass appeal and signifies a wide road ahead in the mode of a serious thespian; as for Taiwanese actress Gwei Lunmei, who also triumphantly conceals her modern-look and urban delicacy, eloquently morphs into a conflicted character living in the margin with no hope in sight, during a nocturnal boat trip on the placid lake, the vestigial human-to-human compassion and connection brings a chink of warmth into this largely grim tale." read my full review on my blog: cinema omnivore, thanks

A unique personal style full of innovation of the film! Each frame of the lens was finely crafted.Almost all of them are night plays, and it is true that the night is magical under various lights and Settings.The chase, fight and gunfight of the gangster drama also have the director's unique way of expression.

The film is more like to express the background of the era.Whether it is an old life scene more than ten years ago, or an authentic character in the market, or a strange and complicated social environment, it reflects the memory impression of the previous generation. The film is very slow. The use of this era-rich background in combination with even a more deliberate literary and artistic approach to telling the story, although it is indeed true to the story itself, is undoubtedly a clever act of appreciation to the audience.

His is a must watch movie with your family because there is a hidden story in this movie that can really reayy enjoy with your family.each scenes of the movie is worth to be watched aswell as the background music is awesome and really thrilling.

Gang warfare in Wuhan in this highly stylized Chinese gangster movie. There isn't a great deal that's new about Yi'nan Diao's "The Wild Goose Lake". Walter Hill, Jean-Pierre Melville or more recently Michael Mann could have made this but Diao's use of flashbacks to propel the story and his superb use of locations certainly give this an edge. Despite the fatalistic tone it's hardly what you would call existential despite moving at a fairly leisurely pace. The plot isn't always easy to follow and sometimes it's hard to know who belongs to whose gang or who's a cop and who isn't. As a cop killer on the run, Ge Hu is as cool as they come; in another lifetime Delon or Belmondo might have played this part and Lun-Mei Kwei is excellent as the film's femme fatale. In the end there is more atmosphere than action and the film's look finally overwhelms its content but it's great that in this day and age this kind of gangster film is being made and that China has taken such a fundamentally American genre and twisted it to its own ends.

Rain falls hard over a remote area where a mobster-on-the-run awaits instructions from a mysterious woman; the camera captures the dazzling, stylish and inventive visions of director Diao Yinan as he opens this action-packed thriller demonstrating how poetically he conceives a scene. Bleeding, hurt and wanted, Zenong has wrongly shot a cop, while on a competition with other gangster families, in order to claim control over the drug/theft most profitable streets. Aiai is a hustler and "bath lover"- a Chinese modern version of prostitution- who is working on both sides, struggling to survive as a mediatior on the bloodshed war between the gangsters' families and the police seeking to avenge their colleague. As they wait for their next move, they both narrate in flashbacks the circumnstances prior, when the street war sparkled a revolution on the local criminal business. An electrifying, fast-paced, ultra violent and seductive neo-noir thriller, Yinan obviously understands of visual techniques, conceiving each frame as a piece of art in movement, with lyrical, glamorous observations on the details, on the silent moments embracing the unexpected, the subtle eroticism, the rain, the neon lights on the roads, but most impressively how he extracts poetry from the bloody confrontations and its uncontrollable shootings. Addressing male rivalry and dominance, pride and greed, it's a riveting, visually-arresting and superbly crafted mobster-on-bikes tale.