The Wild Goose Lake

A fatalistic manhunt noir that lacks plot intrigue and becomes an exercise in directorial prowess. We move from extravagant fights to novelistic flashbacks without music or character shadings to guide us through the tableaux of concentration and waiting. Little springs to life before our eyes; we just witness the best stylish directing world cinema has to offer.

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Wow, such astonishing style. This movie is made by a master. The use of varying shots, deep and vibrant color and great sound that seems to come from everywhere, you're really there in mysterious Chinese back alleys; but also you're kept at the distance that browsing through an amazing photography book invokes. The strong neon touch and crawling cinematography that can suddenly burst out into hardcore, tightly choreographed violence finds a peer, and maybe an equal, in Refn. Rewound many scenes

I think the reason that I don't like crime films is that they are just the ever same lines in front of changing backgrounds. At least the backgrounds are pretty in this one.

(TIFF '19 REVIEW) Heavy on the neo-noir fatalism, off-kilter in its pacing and somewhat narratively inert, yet ultimately still stylish and gritty enough to mark Diao as an eminent talent of world cinema.

Adana Altın Koza Film Festivali

dancing to ra ra rasputin in light up shoes ftw.

that many of the same people who called LONG DAY'S JOURNEY INTO NIGHT vacuously studied turned around and praised this is baffling to me. it sure does look fucking beautiful though.

Yinan Diao follows up his breakthrough Black Coal, Thin Ice with this neo-noir. Fans of highly stylized crime movies from Asia should check this one out, people looking for more indepth characterizations and thematic depths will find less to like.

As pulpy, moody, muddy, nighty, rainy it seems, I love that this is less about the story -- mobster on the run after killing a cop, pursued by both lawmen in a crude manhunt and gang rivals -- than it is about neon motorcycles, talking shadows, staring and walking but not talking, just breathing. Abrupt burts of violence reminded me of Zahler. Cinematography/lighting is absurdly elegant. Kinda drags in the 2nd half, but ends beautifully -- prostitute and wife holding the reward in broad daylight

Çin'de geçen 1 kaçış hikayesi. Motorsiklet çalan 2 çete, aralarında kavga çıkıp birbirlerini öldürürler. Liderleri, polisten ve diğer çeteden kaçmak zorundadır. Merak edici konu, ağır tempoya yenik düşüyor. Neon sahne tasarımları, karanlık sahnelerde boğuluyor. Oyuncuların fiziki halleri çok benzemesi, kafaları karıştırıyor. Filmin sonunda, varoşta kumpas var. Çukur dizisi gibi bitiyor. Sürprize açık olun. İçine giren şemsiye açılırmış. Iyyy.

It's got a fatalistic man-on-the-run plot complete with a femme fatale, but also has a large group of people in light-up sneakers dancing in formation to Boney M. What more could you ask for?

I really enjoy this director's style and visual artistry. The intensity of the chase scenes really stands out, especially in the beginning. Every frame of this film would work as a photographic image. So the cinematography was incredible. I loved the lighting as well, such brilliant use of color. It's one of the most beautiful films I've seen. I think NWR is a bit inspired by it as well - or maybe vice versa.

Perdede, Rexx

Got attitude to burn but also very uneven.