Critic Rating
(read reviews)User Rating
Director
Tsui Hark
Cast
Zhang Hanyu,
Tony Leung Ka-Fai,
Tong Liya,
Lin Gengxin,
Nan Yu,
Han Geng
Genre
Adventure,
Thriller,
War
Based on an incident in 1946 during the Chinese Civil War, the film focuses on a communist soldier named Yang Zirong. Aiming to infiltrate a group of bandits, he disguises himself as one and eventually helps the main force to destroy the gang.
RogerEbert.com by Peter Sobczynski
This lavish period piece contains enough thrills, spills and moments of cinematic grace that not only manage to push it through the rough spots but allow it to put most American action films of recent vintage to shame.
Variety by Maggie Lee
The film’s strength really lies in its thrilling pace and robust action, elaborately choreographed and executed to involve a large ensemble of characters in a gripping way.
Village Voice by Simon Abrams
The Taking of Tiger Mountain may not always be as grand as it should be, but its thrills compensate for its shortcomings.
The A.V. Club by Ignatiy Vishnevetsky
Boasts a handful of colorful, gonzo set pieces of the kind that made Tsui’s reputation at home and abroad.
Los Angeles Times by Martin Tsai
Tsui will try anything once in 3-D. Splatters of blood travel in bullet-time, and the requisite ridiculousness — like action scenes with skis and zip-lines — characterize Tsui's work. But bookending the story with the 2015-set prologue and epilogue turns out to be his most inspired touch.
The New York Times by Ben Kenigsberg
The movie has a nationalistic, didactic flavor and a tiresome devotion to spectacle. Even the climax is staged two ways.
The Hollywood Reporter by Clarence Tsui
A straightforward spectacle motored by relentless high-octane action sequences between simplistic heroes and grotesque villains.
Slant Magazine
Cheery and happily empty-headed, the present-day subplot adds little but sentiment to a film shot through with cliché characters, a predictable plot, and undisguised reverence.
Slant Magazine by Jeremy Polacek
Cheery and happily empty-headed, the present-day subplot adds little but sentiment to a film shot through with cliché characters, a predictable plot, and undisguised reverence.
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