Lovesusti The Worst Film Ever

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Melanie Bouvet The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

Tyreece Hulme One of the best movies of the year! Incredible from the beginning to the end.

Leofwine_draca LET THE BULLETS FLY has an extraordinarily fast pacing to recommend it, so you better be ready to pay attention with this one. It's a twist-a-minute tale of gangsters battling corrupt politicians in a remote township, where everybody is saddled down with greed and rivalry and death is only a footstep away. The film it most reminded me of is THE GOOD THE BAD THE WEIRD, with both films revelling in their quirkiness and action-packed narratives, although this isn't quite as good as the Korean movie.I was thinking about LET THE BULLETS FLY after I'd finished watching it and I realised that in reality this is quite a slight tale; not much in the way of substance really happens come the end, but it's the journey there which is so entertaining. This is highbrow, intelligent humour for the most part, where the fun comes from watching Chow Yun-Fat and Jiang Wen doing their best to constantly outwit each other. What the film has going for it are two fine performances from the leads and some great cinematography, which makes the various violent interludes highly enjoyable. It's a film that brims with energy and gusto, although I did find it quite wearying especially in the second half. Good fun but now I know the outcome I don't see any need to watch it again.

ChristianUnchained Advertised as a shoot em up, gun fu action flick, Let The Bullets Fly is anything but. The plot is interesting, but is too convoluted and wildly confusing, which would have worked if the film were directed in a more digestible manner. The action is far and few between, with only about 9 1/2 minutes of poorly shot and poorly directed shootouts in a 124 minute drama-dey. The special effects are very bad, and the sense of any rising action is bogged down by way too much talking, and not enough shooting. For a film that advertises big flash, LTBF fizzles. The acting is very good though, and Jiang Wen and Chow Yun-Fat are excellent and very charismatic. But this film is so ridiculously cluttered, confusing, and just plain boring, you'll have spent your time watching better foreign films, such as IP MAN, The Good The Bad The Weird, or Hard Boiled. The only thing I can walk away and say about this film is that it undeniably sets itself up for brilliance, and then follows a horrendous train ride to boring-town. The bullets don't fly, but the snores do.

Bai Gan I didn't like it as a movie and was slightly offended by it after seeing it for the firs time. Then I watched it again and realized it is actually a series of encrypted political messages disguised as a movie. You can call it a movie if you consider movie an 'entertainment' and that this is the way Chinese people in China are entertained, with bitterness and cynicism. Everything in the movie is just too 'real' and it is painful (for me) to watch. Director Jiang, Wen had too much to say and couldn't say it directly. Starting from the title, if you notice that the title that first appeared was translated to be 'let the bullet fly for a while; then 'for a while' was removed. This was Jiang Wen's first message: everything he tries to say has to be in disguise, sometimes mixed with jokes in bad tastes such as when he said how he followed General Cai'e during the revolution then became bandit after Cai died in Japan, which was followed by Ge You's digression on when he was 17 blah blah blah, the title means you need to wait for a while before the message goes through to audience (had to bypass censorship first) There were dialogues in the movie nobody can get right away and tell what logical purpose it serves, such as when Huang Cilang said he met Ma bandit 20 years before, together with other mysterious dialogues reveal who they were and how they became who they are now. They both implied that they know Japanese suicide rituals well, which meant they were both close to the revolution etc. Anyway, it is painful to watch because it is so real.

lasttimeisaw I'm quite lagging behind the progress of recent Chinese film market, LET THE BULLETS FLY is still the No.1 film in the all-time domestic grossing (approximately 100 million US dollars, it seems that the record still holds steady judging by the under-performance of Yimou Zhang's THE FLOWERS OF WAR 2011 and Hark Tsui's THE FLYING SWORDS OF DRAGON GATE 2011 in the past Christmas season), and its preeminent word-of-mouth prompts itself as a must-see for every aficionado, it is a bit shameful of me to been not have watched this one, aside from that I'm a bona fide Chinese, thus I chose this one as the first film to start my 2012. However the road is bumpier than I thought, at first the abrupt dialogs and some implausible scenes grate on my nerves (particularly the absurdly droll disembowelment suicide). But it is a genuine slow burner, the tension ignited by a spanked-up manhood hegemony is sterlingly fabricated at the latter part, there is a conspicuous political intent has been underlined in a metaphorical method while contains some visceral vibes being spiritually entertaining and optically stylish! As a matter of fact the censorship of cinema in China is harshly stern (politically preferred), thus it is wondrous to guess how this film had evaded it and subsequently became the highest grossing one in the Chinese film history, lots of context reading could be arresting and effectual for other film directors. As the elite in contemporary Chinese film market, LET THE BULLETS FLY is Wen Jiang's most ambitious work to date (after a failed attempt with DEVILS ON THE DOORSTEP 2000, which was shut down completely in the domestic cinema due to some political reasons, and a box office debacle in 2007 with THE SUN ALSO RISES), Wen cunningly harness a cast with trio male leaders, which has an overpowering appeal towards nearly all the Chinese audience. You Ge (a household name in China and majorly allures the large northern demography) stands out in the mêlée, his satirical aura is the key catalyst in the film and also salts his tragical doom with a poignant flavor. Yun-Fat Chow (the Hongkong marque name which has more box-office sway in southern area) is solid too, but his villainy is a trifle overstated with his over-stately appearance. The real top dog is Wen himself, the winner both in and outside the film, with a gutsy supporting characters (Yun Zhou, Carina Lau is the meager female included).Hardware-wise, the film represents the top-notch level of contemporary Chinese film (one exception is the CGI effect of the opening train accident, which is risibly artificial), and the final battle of the strategy about acquiring the dominance and manipulating of the mass demonstrates that Wen is the master of fashioning a compelling period mainstream work with modern political allegory, which is a highly valued rare bird in this era.