Either the first 30-50 minutes are a deliberate red herring, or the writer or director simply struggled to develop believable exposition for the movie. Whichever the case may be, the effect is to make this feel uneven as the beginning of the leads' involvement feels wholly forced and contrived, with wretched, unconvincing dialogue and scene writing - and by contrast, the plot gains steam and becomes more actively engaging as it goes along. It's unfortunate, because the early scenes sadly do much to detract from a title that is ultimately quite enjoyable. I do like 'China moon,' but it's not without problems.
It's a rather incredible ensemble that casting director Elisabeth Leustig put together for this movie; if nothing else catches our attention, the list of names certainly does. Everyone in front of the camera - Ed Harris, Madeleine Stowe, Charles Dance, Benicio Del Toro, and more - has proven themselves before and/or since. I'm therefore inclined to believe that the fault doesn't lie with the actors for performances that at the outset somewhat raise a skeptical eyebrow, feeling like no more than 80% of their best. In fact, I'm sure of it, because the portrayals are adjoined by other readily noticeable matters. Neither director John Bailey nor screenwriter Roy Carlson can claim many credits in those capacities, but that's no especial indicator of quality; I've watched films from first-time filmmakers that blew me away. However, whether it's owing to lack of experience or more general lack of skill, Bailey and Carlson's contributions don't do much to inspire for somewhere between one-third and one-half of the runtime. Up to that halfway mark it doesn't meaningfully feel like the plot has gone anywhere, and while the story does pick up thereafter and become more satisfying, other issues present to prevent 'China moon' from being its best self.
Beyond the most troubled beginning, the greatest difficulty the film has is a plot that comes across as strained, barely maintaining cohesiveness. A complete tapestry is woven, but it seems like tugging lightly at just one thread would undo it all. On the other hand, with the characters populating this specific course of events, there are distinct neo-noir vibes that go a long way in helping all the varied parts to gel together. Dubious figures, bad business, a growing web of ill deeds that spiral out of control - there are particular flavors here that are definitely in the feature's favor. And it's in this latter aspect of 'China moon' that the value manifests. Commendable tension and suspense builds through strong scene writing, dialogue, and plot development; if Ed Harris and Madeleine Stowe seemed painted into a corner previously, their performances later in the film are characterized by the nuance, range, and poise we know they possess. With the movie having finally picked up speed, a smidgen of dark atmosphere manifests leading into a climax and ending that's a tad brusque, but nonetheless rewarding, especially for the viewer who has sat through the previous weaknesses.
A sufficient amount of the runtime is flawed such that I spent a fair while wondering what I had gotten myself into, and doubting if my investment was worth it. The picture does turn around, I'm pleased to say, and when all is said and done it is worth watching. I just wish as much mindful care could have been put into the exposition as the rest of the film received; if it had been, the title would have benefited considerably. Recommendable most of all for fans of the cast, or possibly for noir buffs, at length 'China moon' is engrossing and entertaining and deserves your time if you come across it; just be prepared for a rough beginning.
It's a rather incredible ensemble that casting director Elisabeth Leustig put together for this movie; if nothing else catches our attention, the list of names certainly does. Everyone in front of the camera - Ed Harris, Madeleine Stowe, Charles Dance, Benicio Del Toro, and more - has proven themselves before and/or since. I'm therefore inclined to believe that the fault doesn't lie with the actors for performances that at the outset somewhat raise a skeptical eyebrow, feeling like no more than 80% of their best. In fact, I'm sure of it, because the portrayals are adjoined by other readily noticeable matters. Neither director John Bailey nor screenwriter Roy Carlson can claim many credits in those capacities, but that's no especial indicator of quality; I've watched films from first-time filmmakers that blew me away. However, whether it's owing to lack of experience or more general lack of skill, Bailey and Carlson's contributions don't do much to inspire for somewhere between one-third and one-half of the runtime. Up to that halfway mark it doesn't meaningfully feel like the plot has gone anywhere, and while the story does pick up thereafter and become more satisfying, other issues present to prevent 'China moon' from being its best self.
Beyond the most troubled beginning, the greatest difficulty the film has is a plot that comes across as strained, barely maintaining cohesiveness. A complete tapestry is woven, but it seems like tugging lightly at just one thread would undo it all. On the other hand, with the characters populating this specific course of events, there are distinct neo-noir vibes that go a long way in helping all the varied parts to gel together. Dubious figures, bad business, a growing web of ill deeds that spiral out of control - there are particular flavors here that are definitely in the feature's favor. And it's in this latter aspect of 'China moon' that the value manifests. Commendable tension and suspense builds through strong scene writing, dialogue, and plot development; if Ed Harris and Madeleine Stowe seemed painted into a corner previously, their performances later in the film are characterized by the nuance, range, and poise we know they possess. With the movie having finally picked up speed, a smidgen of dark atmosphere manifests leading into a climax and ending that's a tad brusque, but nonetheless rewarding, especially for the viewer who has sat through the previous weaknesses.
A sufficient amount of the runtime is flawed such that I spent a fair while wondering what I had gotten myself into, and doubting if my investment was worth it. The picture does turn around, I'm pleased to say, and when all is said and done it is worth watching. I just wish as much mindful care could have been put into the exposition as the rest of the film received; if it had been, the title would have benefited considerably. Recommendable most of all for fans of the cast, or possibly for noir buffs, at length 'China moon' is engrossing and entertaining and deserves your time if you come across it; just be prepared for a rough beginning.