USA Today by Mike Clark

It saves its clunkiest scene for the finale. No fair telling, but the key words are "political," "propaganda," "outdoors" and "orphans."

New York Daily News by Jami Bernard

Introduces American audiences to Luo Yan, a charismatic Chinese-born actress now living in Los Angeles. She single-handedly nurtured this project to fruition, serving as producer, co-writer and star.

New Times (L.A.) by Andy Klein

Has an awkwardness that defeats whatever emotional involvement it tries to achieve.

TV Guide Magazine by Maitland McDonagh

The locations and production design are breathtakingly beautiful. But though cast largely with Chinese actors, it was shot in English, which no doubt made business sense but almost certainly accounts for many truly awful performances.

Washington Post

A film that was made in China but has the soul of a '50s Hollywood melodrama.

Los Angeles Times by Kevin Thomas

Can never rise above the melodrama of a past era, despite a splendid, impassioned portrayal by Willem Dafoe and an affecting one by Luo Yan.

The New York Times by Dana Stevens

It might have been a satisfying if not terribly original piece of historical melodrama, but its clumsiness turns it, against its best intentions, into half-baked operatic kitsch.

San Francisco Chronicle by Wesley Morris

This version is a well-meant but corny distillation -- a whole lot of bombast and phony exaltation in the name of entertaining enrichment.

New York Post by Lou Lumenick

It's loaded with -- scenery-chewing melodrama, cornball pidgin dialogue and syrupy music.

Variety by Robert Koehler

Fails to stir the emotions despite its heavily melodramatic drive.