I can't believe this is by the same director who did the brilliantly and darkly introspective Devils on the Doorstep. This is more along the lines of a mad cap comedy like Kung Fu Hustle with more gore and a lot less amusing. It's a reasonably well acted ensemble and it's nice to see Chow Yun Fat doing comedy albeit in an underwhelming film. There needs to be more films about the pre-revolutionary period of China but not like this.

Intermittently satisfying nonsense. There seems to have been some difficulties that mandated nearly all scenes to be filmed exclusively in tight shots; distracted me (along with some awkward CGI moments) in comparison to the great, period pictures of old. Above all, this film is a genre mash-up that requires some suspension of disbelief for its Miike moments and several instances of histrionics, as well as a measure of attention to grasp its plot of increasing duplicity and political subtext.

This is the Chinese version of Jack and Jill. All the friends of Wen Jiang are allowed an appearance. It's one big mambo jumble. Rubbish.

Disappointing. It's not bad entertainment, with some really clever plotting, enjoyable characters, witty dialogue and situations, gorgeous shots, and exciting action. It's a fun, if occasionally confusing, movie. But it's pretty shallow stuff and lacks the artfulness of Jiang's previous works. Besides that, there's some shoddy CG work, a gross-out scene I could have done without entirely, and Chow Yun-Fat hams it up. I just hope this gives Jiang more freedom to go back to doing more unique work.

Humorous movie and well directed, but don't think I grasped the apparent deeper meanings meant as commentary on Chinese recent history, etc.

Jiang's new entry is a step out of his strong suit, terribly entertaining at times, loses it's momentum midway through and ties with a mediocre ending.

"The world of difference in tone and content between actor-turned-director Jiang Wen's Let the Bullets Fly and his masterful Devils on the Doorstep can be seen in the former film's deceptively happy ending." - Simon Abrams