a5c7b9f00b An old soldier kidnaps a young general of an enemy state and takes him on a long journey to collect the reward.
Two armies clash in ancient war-torn China; none survive but a young general from a royal house and a farmer foot soldier who binds the fallen leader to take him home and claim a reward. Many stand in their way: an abandoned songstress, the noble's own murderous younger brother, desperate beggars, rough slavers, and the pair's own differing agendas. Through it all, a bond forms between the two, and what will happen at journey's end becomes anyone's guess.
I was expecting a good movie, but it was far from being good. The journey in this was just dull and boring for the most part. The humor in this sort of works but it just didn't know which direction it wanted to go with this. One of the main reason I decided to check this movie out is because it has Yoo Seung Jun in it, who use to be a popular Korean star until he neglected his military service. But anyways his charisma really shows in this and his acting was alright and he did the best he could with what he was given. Another negative is it's pacing is also pretty bad and just seems out of nowhere at times. The fight sequences aren't even that good and there is nothing memorable about it. Except maybe still watching the old Jackie still jumping around and evading attacks. I give this movie a 4 because I thought the ending was alright, maybe because it was sort of unexpected.<br/><br/>4/10
Little Big Soldier– the only Jackie Chan movie that got me (& the audience I was with) laughing AND crying– is easily the best of the Jackie's "legacy" projects, where he makes a point of taking on more mature/dramatic roles and working with more industry novices/newcomers. And despite a nondescript trailer lacking in any visual/action eye-candy and lukewarm previews from critics who didn't know what to expect, audience word-of-mouth has slowly but surely carried the movie to box-office success.<br/><br/>Based on Jackie's concept for a war-time "frenemy" road-movie, this is the closest he has ever come to making an "Indie" comedy, where the communication of the story/concept always takes precedence over the presentation of visual/action set-pieces. There is no doubt that Jackie's effortless acting and antics carried the film– but it is also sensibly supported by a story/script from the newcomer director-cum-writer Ding Sheng, who knew how to flesh out the concept (& so earn his placedirector) by adopting the setting of China's "Warring States" era.<br/><br/>As a TV commercial-turned-movie director, Ding Sheng instinctively trusted himself (& the audience) to get a "point/beat" within a precisely-framed 3-second shot (instead of those wide, sweeping or lingering shots done-to-death by cinematographers or MTV-producers turned directors)– making much of the "foreshadowing" and "reveals" strangely subtle for an action-comedy. So much so that some critics will inevitably lose the plot… because true to the road-movie convention, there are many "pop-up" cameo-roles whose appearance/plot-lines are NOT explained– except maybe with a 3-second shot (or a one-liner)– all of whom are inconsequential on their own, but serve to add spicewelldepth to the story/characters.<br/><br/>Not to mention that readers of sub-titles might also miss the bits of cultural references/symbolism littered throughout the film… like the irony of a royalty who quotes classical poetry from memory, but doesn't know the plant from which rice is grown– or the fact that calling someone a "little person" is one of the oldest/gravest insults in Chinese culture.<br/><br/>The hodgepodge of characters and plot-points sounds like a recipe for disaster, but the "low-tech" animation of some opening-titles and a flurry of short opening-scenes quickly and firmly sets the tone for a light-hearted fable/satire of a dark age– so much so that the apparently rambling dialog and wildly varying accents (including one unintelligible language) seemed quite natural to it. In fact, a result of this movie following the "action-in-service-of-story/character" principle was that I frequently wanted to get past the action sequences and get on the story/dialog (a prequel/sequel would be nice…)– so here is an "advanced warning" with spoilers: don't watch this movie if you don't want to see Jackie Chan as…<br/><br/>*SPOILERS START SPOILERS*<br/><br/>…a brazen coward who can't fight to save his own life. The only thing Jackie Chan hurt making this movie was his finger– and the most impressive skill Jackie Chan showed was his singing.<br/><br/>But Jackie Chan is also the only one who could have made a bumbling rogue so endearing and hold this poignant period action-comedy together– even edging out similar fare from Stephen Chow (who is more wacky than endearing) and wanna-bes like Zhang Yimou (who is more theatrical than comical) simply in terms of "laugh-tears". So much so that the whole theater burst out laughing evenhis character breaks down for the only time in the movie– because it was just such a "common/banal" result of war. In fact, there wasn't a single gag or joke that didn't add a little more to the story/characters– so another thumbs-up for applying the "gags-in-service-of-story/character" principle.<br/><br/>And the "turnabout" ending of the movie is just icing on the cake– being gently foreshadowed (it is pretty obvious that this is a "message" movie), it provides even more food for thought… and brings to fore the existential question faced by the Little Big Soldier: "to live in peace, or die with dignity"? But whether you agree with the ending/choice of the Little Big Soldier, the "out-takes" presented during the end-credits (a feature of most Jackie Chan movies) are there to help you "deconstruct" the movie with further hilarity– and no one in my theater even tried to leave, until we were sure that the end-credits were absolutely over.<br/><br/>*SPOILERS END SPOILERS*<br/><br/>There isn't anything revolutionary in Little Big Soldier (except maybe personally for Jackie Chanwellthe novices/newcomers involved), but thanks heavens that the current generation of Chinese/HK directors is not asking audiences to condone shaky story-telling for the sake of some shiny set-pieces (like Hollywood-wannabes Zhang Yimou, John Woo, etc.). And I'll willingly pay to watch any movie that does NOT need me to switch off my brains before it can make me laugh/cry.


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