CantripZ Two men befriend itinerant workers in order get them work in the mines posing as a relative... then they kill them and, as family, claim compensation.After a successful score, the pair find a fresh-faced youth just come from the country and take him under their wing planning to start over again - but their new protégé is a genuine innocent, and their relationship shifts around him until it becomes clear that their plan won't run so smoothly this time around...I've seen this described both as an art-house character drama and as a kind of noir thriller, and while neither description is wrong both ideas of the movie lack something. It's neither - it's just an excellent film.If it's a character drama, it scores: all three central characters are brilliantly played and have the idiosyncratic, sometimes inconsistent feel of real people. You laugh with them and feel for them, even when sometimes you shouldn't.If it's a noir it also scores: bleak, honed to a sharp point and without an ounce of fat on, it's a mesmeric film in which the viewer is compelled to keep watching... in spite of the inescapable feeling that it's not going to end happily.On the other hand, it's visually a world apart from the majority of Chinese art movies. With no music to relieve the realism, it eschews sumptuous visuals in favour of a raw, documentary style which pays off from the first scene, impressing on the viewer the mundane nature of its characters and how chilling simple their plan is.Unlike most noir flicks, it's not overtly a thriller. Events unfold at their own pace, without the careful buildup and the climactic peak of the traditional thriller, and the murder and crime are presented as a part of these men's lives rather than the central subject of the film.The central subject of the film is people, and that's where this film's unique impact lies. Not a film noir and not an art film, this is just a fine film which also happens to be a work of art.

Dennis Littrell What happened at the start of this movie down in the mine shaft confused me so much I had to go back to the scene and view it again. That really didn't help because it seemed that three men--one very young; another older, perhaps in his early thirties; and the third perhaps in his forties--go down into the coal mine and after working for a while take a break in the semidarkness. And then after some talk the two older men bludgeon the youngest to death.That in fact is what happened. Turns out that drifting miners Tang, the older, and Song have dreamed up a murderous scheme in which they recruit young men to go with them to work in the mines. They make the young man pretend that he is related to them. Then they kill him, fake a cave-in and demand hush money from the boss of the mine. We see this work one time, and then the two men are off to the town to spend their ill-gotten lucre. And then it's back to recruitment and a new mine.Part of the logic of this premise is the fear of the mine operators that if there is an accident, there will be an investigation and the mine will be closed down. So they pay hush money to the families of those killed to keep the authorities away. How realistic this is I have no idea. The scam certainly is a brutal, bestial way to make a living that cannot go on for long.In the next part of the movie Tang and Song find a poor 16-year-old country boy in the city who is looking for work. Director Li Yang carefully shows us a lot of interaction among the three as the next setup develops at a new coal mine. What makes all this so interesting are the glimpses we get of life in modern China, the wretched, dangerous coal mines, the cities teeming with all their poverty and industry, their hustles and indifference. The landscapes are not lush with greenery; instead it is cold and bleak and the ground is mostly barren. This is not a travel log for tourists, nor is this an ode to the communist state. What we see is a rural and agrarian society perverted by a forced industrialization.We see the housing for the miners. We see them at meal times and at play. We see what they eat and drink, how they amuse themselves. We see the great dependence that China has on coal. There is a lot of coal in China and it is used for heating and cooking and for firing kilns and crematoriums. It runs the industrial state. Coal burns dirty and pollutes. Although Li Yang does not dwell on it or show us the poisonous clouds that hang over many Chinese cities, we nonetheless get the picture.Perhaps the most evocative shot of all is the last one. A body with a blanket over it is shoved into the crematorium oven. The door is slammed shut; the fires incinerate. The camera pans up, up to the top of the smokestack and we see puffy tendrils of smoke emitting. That's it. Run the credits.The simplicity of the story starkly told and the low-budget realism of the cinematography lend to this film a sense of truth and immediacy not found in more carefully contrived productions.(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

Libretio BLIND SHAFT (Mang Jing) Aspect ratio: 1.85:1Sound format: Dolby DigitalYang Li's indictment of rural poverty and safety issues in the Chinese mining industry features Qiang Li and Wang Shuangbo as a couple of itinerant laborers who make a 'living' by befriending poor, unemployed travelers and taking work together in unsafe coal mines where they murder their newfound 'friends' and make it look like an accident, forcing unscrupulous mine owners to ensure their silence with a series of generous pay-offs. Their downfall is precipitated by the arrival of young, innocent Wang Baoqiang, with whom the two men form a paternal alliance and whose impending death fills Qiang with dreadful foreboding.Either you like this kind of defiantly 'arthouse' stuff or you don't, and this one gets off to an unpromising start by asking us to empathize with a couple of heartless monsters who not only murder a man in cold blood, but use his death to line their own pockets before flushing his ashes down the toilet! But the movie picks up with the arrival of virginal Wang, a genuinely charming kid whose naivety and innocence stirs feelings of compassion within the two protagonists, leading to an ironic twist in the tale. Professionally assembled and shot on location in the heart of China's rural landscape, this is much more naturalistic than the clinically beautiful films we're used to seeing from Chinese filmmakers. Not for all tastes, but rewarding for those willing to stay the distance.(Mandarin dialogue)

Karl Ericsson We do not know how all the wealth was built up in our western past. This film offers an explanation to how, at least some of it, can be achieved. SPOILERS!!!!! Hard-working workers, with kids who need education for which money is needed, embrace the world of competition and take it a little step further. Since nobody can be loved but your next of kin in a world of competition, it is only logical that some will draw the full conclusion of this and do what their soul-brothers in ancient times (be it the Borgias of renaessance Venice or the oil-barons of Texas) have done in order to achieve in a month, what otherwise would take more than a year to achieve in income. Matter-of-factly and as 'normal' as anything going on, two workers in the mining-business have found a way of extracting money from murders, which are not investigated for reasons this film explains. They have touched on the very heart of competition. In other words: An aggressive and competent attack on competition-society. Impressive. 10 out of 10.