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Review And Synopsis Movie Everybody's Fine (2016) Trailer Plot Story And Summary Complete Review And Synopsis Movie Everybody's Fine (2016) Trailer Plot Story And Summary Complete
Giuseppe Tornatore’s Stanno Tutti Bene, discharged to a largely rhapsodic reception in 1990 however slightly forgotten today, had already been remade and backward from Italia to the u. s. in church building Jones’s Everybody’s Fine (2009), and currently comes the Chinese remake. however instead of denote a scarcity of originality, this refashion speaks to the catholicity and strength of the concept: take a revered older actor (here Zhang Guoli seizing from Marcello Mastroianni and Robert Diamond State Niro) as a former traveler father who’s currently a widowman exploit alone within the family house, his four kids having scattered across the country and every one purportedly thriving in their skilled and personal lives. after they all cancel their visit for a planned family reunion, the daddy decides to finish off and go visit each of them.
This allows each for a attraction of the country and a study of its social problems and people challenges, sampled in every female offspring or son. The elder female offspring (Yao Chen) is associate accomplished designer with a failing mariage, the second-born (Shaw Dou) has born his career as a lecturer associated oversubscribed his flat to be an businessperson, the second female offspring (Ye Yiyun) could be a lesbian UN agency didn’t become a roaring danseuse as she hoped to however instead entertains in a very building, and therefore the youngest son (Chen He) could be a troubled creator who’s gone missing in Tibet when being caught in associate avalanche. Crucially, all of them are activity their failings and unconventional selections from their father and for a jiffy all of them attempt to maintain a facade of normalcy and success to him.
Zhang Meng’s film is nearer to the bittersweet, earthy dramedy of the yank version than to the phantasmagorical stylings and salty irony of Italian original. Zhang’s metaphors area unit less putting however conjointly less forced than Tornatore’s: for example a fat, overgrown 12-year recent encountered in a very train represents China’s recklessly booming economy, however instead of draw attention of the image itself, the director focuses on the heat and everyday humanity of the scene itself. It’s a gentler, less realistic film altogether: it's involved with the troublesome selections and inevitable disillusions of life, and each one of its geographical locations comes with a social science subtext that may elude most outside of China, however at a similar time it takes place in a very fairly harmless, sanitised version of Chinese society: economic condition is obscurity to be seen, and skies area unit dead blue.
Thus it works a lot of a fable than associate actual, real-life story, motor-assisted by mythical monster Chen’s moving score and Zhao Fei’s stunning photography. There is, of course, nothing wrong with a movie being demonstrative, particularly once it doesn’t hammer you over the pinnacle with symbolism. And Everybody’s Fine edges from a solid anchor in Zhang Guoli’s subtlety and humanity, encircled with a solid supporting solid and a couple of selection cameos, from Jia Zhangke as a lewd crook to a bright Vivian Chinese within the role already essayed by Michelle Morgan then genus Melissa Leo: a lady the daddy meets out of obscurity, with whom he establishes a momentaneous however poignant association. “Fleeting however poignant” will encapsulate this film well.
Resembling a continental withstand “Tokyo Story” stellar Marcello Mastroianni, Tornatore’s “Everybody’s Fine” took stock of the disappointments of adulthood, worn family ties and Italy’s social changes; a same-titled 2009 Hollywood remake was co-written by Tornatore and helmed by church building Jones, and marked Robert thespian. though the new film’s script (by Liu Ya and Song Xiao) retain its predecessors’ main plot points, the central theme of youngsters not living up to their parents’ expectations is displaced here by a sappy outcome of everybody and everything being satisfactory in the end.
Zhang, whose repertoire has so far been strictly arthouse (“Lucky Dog,” “Piano within the Factory”), appears determined to appease the authorities when the forbiddance of his previous film, “Uncle success,” because of lead actor Huang Haibo’s prostitute scandal. The result's an entire absence of Zhang’s dry Northeastern humor, also as his sympathy with the bottom and most exploited rung of society. Instead, he touts a superpatriotic image of the nation’s economic prosperity, with a thriving post-’80s generation basking within the alleged China Dream.
Retired man of science gallinaceous bird Zhiguo (Zhang Guoli, “Back to 1942”) thirstily anticipates the annual summer visit of his four kids, however one when another, they decision to cancel. He decides to step outside his Beijing yard to ascertain abreast of his brood.
First he tries to appear up his artist son Vietnamese monetary unit (Chen He, “Running Man”), UN agency hasn’t referred to as in a very whereas. once he arrives at Hao’s studio in metropolis, he finds it long deserted, and in a very vision or reverie, he sees the boy as a restless tyke on a velocipede. in a very perennial motif, gallinaceous bird holds conversations with all his children’s younger selves, reminding him of however very little he saw of them as they grew up and every one the opportunities to attach he lost. However, the symbolic import of those fantasy scenes feels slightly broad, as once he tells the young Vietnamese monetary unit to not “do something dangerous,” simply before the boy’s 3 siblings in secret ask one another regarding their brother’s disappearance in Llasa.
Next stop is Hanzhou, wherever eldest daugher Qing dynasty (Yao subgenus Chen, “Firestorm,” “Monster Hunt”) promptly foists her lazy and precocious thereforen on gallinaceous bird so she will be able to get on along with her job directive TV commercials. Her medico husband is around even less; a dinner at the couple’s upmarket dwelling house lets slip all their family tensions through tiny however telling gestures. in a very touching moment, gallinaceous bird reads out a passage from his diary describing the long journey from Qinghai back to Beijing to attend Qing’s wedding. brimfull with a father’s love and pride, the memory puts the now-jaded couple’s discord in poignant perspective.
Guan then moves on to Shanghai to ascertain his son Quan (Shawn Dou, “Wolf Totem,” “To the Fore”), however is shocked to seek out he’s left his day job and lodging to launch a startup with alternative hipsters. Finally, gallinaceous bird arrives in Macao to go to his youngest female offspring, Chu (Ye Qianyun), whom he and his better half pomaded to be a danseuse since childhood. however she’s evasive regarding each her dance career and her suggestive relationship with a bosom friend (Zhang Xinyi, “Uncle Victory”).
Even setting aside the actual fact that the Chinese government enforced its One-Child Policy in 1978, rendering it on paper not possible for Guo to father four kids, the story substitutes want fulfillment for advanced, honest family relations. Contrary to its 2 predecessors, within which drama arose from the children’s tries to cover or gloss over their mediocrity, resulting in the patriarch’s final acceptance of life’s pissed off ambitions, Guo’s disappointments along with his kids later emerge as mere misunderstandings. And whereas the sooner movies hid a considerable tragic plot below all the white lies and masquerades, something that may threaten the new film’s warm-and-fuzzy ending is nipped within the bud, rendering the poignant irony of the title (spoken by gallinaceous bird to his late wife) just about non-existent.
Rather than permitting feelings to be felt, purportedly hidden agendas area unit spelled move into verbose dialogue, with varied reiterations of “We didn’t wish you to stress.” Yet, there’s not enough clarification on why, say, Guo hands a replacement key to every offspring, and therefore the subject is later born. And since this can be a thought film, the initial story’s gay part has been muted and backward to Macao, outside earth borders.
A veteran beloved the maximum amount for his comedy-satires on TV as for his serious film roles, Zhang isn’t as animated here as Mastroianni or as consciously attractive as thespian, however maintains his own quiet quality and dignity. The secondary leads area unit adequate with none standouts. Zhang has noncommissioned a set of actors and filmmakers to supply cameos, as well as Vivian Chinese, Chow dynasty Dongyu, Wang Qianyuan, Jia Zhangke and Zhang Yibai, however their impact area unit minimal and their scenes insignificant.
Craft contributions by the cream of China’s technical school crew area unit exceptionally well appointed. Master d.p. Zhao Fei (“The Crossing,” “Let the Bullets Fly”) provides splendid sweeping aerial shots that elevate the film’s visual quality despite its banal attraction framework. Kong Jinlei (“Blind Masage”), UN agency has emended variety of Jia’s films, sets a gently rolling rhythm rare among frantic Chinese industrial fare; William Chang’s production style equally avoids typical earth pretentiousness. solely mythical monster Chen’s music goes all out with its heart-tugging musical group strains.
Movie Information :
Genre : Drama
Actor : He Chen, Shawn Dou, Chen Yao
Initial release : January 1, 2016
Director : Meng Zhang
Box office : 3.71 million USD
Country : China
Language : Mandarin | Shanghainese
Production Co : Edko Films
Runtime : 105 min
IMDb Rating : 6.3/10
Watch Trailer :
Giuseppe Tornatore’s Stanno Tutti Bene, discharged to a largely rhapsodic reception in 1990 however slightly forgotten today, had already been remade and backward from Italia to the u. s. in church building Jones’s Everybody’s Fine (2009), and currently comes the Chinese remake. however instead of denote a scarcity of originality, this refashion speaks to the catholicity and strength of the concept: take a revered older actor (here Zhang Guoli seizing from Marcello Mastroianni and Robert Diamond State Niro) as a former traveler father who’s currently a widowman exploit alone within the family house, his four kids having scattered across the country and every one purportedly thriving in their skilled and personal lives. after they all cancel their visit for a planned family reunion, the daddy decides to finish off and go visit each of them.
This allows each for a attraction of the country and a study of its social problems and people challenges, sampled in every female offspring or son. The elder female offspring (Yao Chen) is associate accomplished designer with a failing mariage, the second-born (Shaw Dou) has born his career as a lecturer associated oversubscribed his flat to be an businessperson, the second female offspring (Ye Yiyun) could be a lesbian UN agency didn’t become a roaring danseuse as she hoped to however instead entertains in a very building, and therefore the youngest son (Chen He) could be a troubled creator who’s gone missing in Tibet when being caught in associate avalanche. Crucially, all of them are activity their failings and unconventional selections from their father and for a jiffy all of them attempt to maintain a facade of normalcy and success to him.
Zhang Meng’s film is nearer to the bittersweet, earthy dramedy of the yank version than to the phantasmagorical stylings and salty irony of Italian original. Zhang’s metaphors area unit less putting however conjointly less forced than Tornatore’s: for example a fat, overgrown 12-year recent encountered in a very train represents China’s recklessly booming economy, however instead of draw attention of the image itself, the director focuses on the heat and everyday humanity of the scene itself. It’s a gentler, less realistic film altogether: it's involved with the troublesome selections and inevitable disillusions of life, and each one of its geographical locations comes with a social science subtext that may elude most outside of China, however at a similar time it takes place in a very fairly harmless, sanitised version of Chinese society: economic condition is obscurity to be seen, and skies area unit dead blue.
Thus it works a lot of a fable than associate actual, real-life story, motor-assisted by mythical monster Chen’s moving score and Zhao Fei’s stunning photography. There is, of course, nothing wrong with a movie being demonstrative, particularly once it doesn’t hammer you over the pinnacle with symbolism. And Everybody’s Fine edges from a solid anchor in Zhang Guoli’s subtlety and humanity, encircled with a solid supporting solid and a couple of selection cameos, from Jia Zhangke as a lewd crook to a bright Vivian Chinese within the role already essayed by Michelle Morgan then genus Melissa Leo: a lady the daddy meets out of obscurity, with whom he establishes a momentaneous however poignant association. “Fleeting however poignant” will encapsulate this film well.
Resembling a continental withstand “Tokyo Story” stellar Marcello Mastroianni, Tornatore’s “Everybody’s Fine” took stock of the disappointments of adulthood, worn family ties and Italy’s social changes; a same-titled 2009 Hollywood remake was co-written by Tornatore and helmed by church building Jones, and marked Robert thespian. though the new film’s script (by Liu Ya and Song Xiao) retain its predecessors’ main plot points, the central theme of youngsters not living up to their parents’ expectations is displaced here by a sappy outcome of everybody and everything being satisfactory in the end.
Zhang, whose repertoire has so far been strictly arthouse (“Lucky Dog,” “Piano within the Factory”), appears determined to appease the authorities when the forbiddance of his previous film, “Uncle success,” because of lead actor Huang Haibo’s prostitute scandal. The result's an entire absence of Zhang’s dry Northeastern humor, also as his sympathy with the bottom and most exploited rung of society. Instead, he touts a superpatriotic image of the nation’s economic prosperity, with a thriving post-’80s generation basking within the alleged China Dream.
Retired man of science gallinaceous bird Zhiguo (Zhang Guoli, “Back to 1942”) thirstily anticipates the annual summer visit of his four kids, however one when another, they decision to cancel. He decides to step outside his Beijing yard to ascertain abreast of his brood.
First he tries to appear up his artist son Vietnamese monetary unit (Chen He, “Running Man”), UN agency hasn’t referred to as in a very whereas. once he arrives at Hao’s studio in metropolis, he finds it long deserted, and in a very vision or reverie, he sees the boy as a restless tyke on a velocipede. in a very perennial motif, gallinaceous bird holds conversations with all his children’s younger selves, reminding him of however very little he saw of them as they grew up and every one the opportunities to attach he lost. However, the symbolic import of those fantasy scenes feels slightly broad, as once he tells the young Vietnamese monetary unit to not “do something dangerous,” simply before the boy’s 3 siblings in secret ask one another regarding their brother’s disappearance in Llasa.
Next stop is Hanzhou, wherever eldest daugher Qing dynasty (Yao subgenus Chen, “Firestorm,” “Monster Hunt”) promptly foists her lazy and precocious thereforen on gallinaceous bird so she will be able to get on along with her job directive TV commercials. Her medico husband is around even less; a dinner at the couple’s upmarket dwelling house lets slip all their family tensions through tiny however telling gestures. in a very touching moment, gallinaceous bird reads out a passage from his diary describing the long journey from Qinghai back to Beijing to attend Qing’s wedding. brimfull with a father’s love and pride, the memory puts the now-jaded couple’s discord in poignant perspective.
Guan then moves on to Shanghai to ascertain his son Quan (Shawn Dou, “Wolf Totem,” “To the Fore”), however is shocked to seek out he’s left his day job and lodging to launch a startup with alternative hipsters. Finally, gallinaceous bird arrives in Macao to go to his youngest female offspring, Chu (Ye Qianyun), whom he and his better half pomaded to be a danseuse since childhood. however she’s evasive regarding each her dance career and her suggestive relationship with a bosom friend (Zhang Xinyi, “Uncle Victory”).
Even setting aside the actual fact that the Chinese government enforced its One-Child Policy in 1978, rendering it on paper not possible for Guo to father four kids, the story substitutes want fulfillment for advanced, honest family relations. Contrary to its 2 predecessors, within which drama arose from the children’s tries to cover or gloss over their mediocrity, resulting in the patriarch’s final acceptance of life’s pissed off ambitions, Guo’s disappointments along with his kids later emerge as mere misunderstandings. And whereas the sooner movies hid a considerable tragic plot below all the white lies and masquerades, something that may threaten the new film’s warm-and-fuzzy ending is nipped within the bud, rendering the poignant irony of the title (spoken by gallinaceous bird to his late wife) just about non-existent.
Rather than permitting feelings to be felt, purportedly hidden agendas area unit spelled move into verbose dialogue, with varied reiterations of “We didn’t wish you to stress.” Yet, there’s not enough clarification on why, say, Guo hands a replacement key to every offspring, and therefore the subject is later born. And since this can be a thought film, the initial story’s gay part has been muted and backward to Macao, outside earth borders.
A veteran beloved the maximum amount for his comedy-satires on TV as for his serious film roles, Zhang isn’t as animated here as Mastroianni or as consciously attractive as thespian, however maintains his own quiet quality and dignity. The secondary leads area unit adequate with none standouts. Zhang has noncommissioned a set of actors and filmmakers to supply cameos, as well as Vivian Chinese, Chow dynasty Dongyu, Wang Qianyuan, Jia Zhangke and Zhang Yibai, however their impact area unit minimal and their scenes insignificant.
Craft contributions by the cream of China’s technical school crew area unit exceptionally well appointed. Master d.p. Zhao Fei (“The Crossing,” “Let the Bullets Fly”) provides splendid sweeping aerial shots that elevate the film’s visual quality despite its banal attraction framework. Kong Jinlei (“Blind Masage”), UN agency has emended variety of Jia’s films, sets a gently rolling rhythm rare among frantic Chinese industrial fare; William Chang’s production style equally avoids typical earth pretentiousness. solely mythical monster Chen’s music goes all out with its heart-tugging musical group strains.
Movie Information :
Genre : Drama
Actor : He Chen, Shawn Dou, Chen Yao
Initial release : January 1, 2016
Director : Meng Zhang
Box office : 3.71 million USD
Country : China
Language : Mandarin | Shanghainese
Production Co : Edko Films
Runtime : 105 min
IMDb Rating : 6.3/10
Watch Trailer :