A film that sees the true return of thespian demi-god Chow Yun-Fat, as well as Gong Li's reuniting with Zhang Yimou: how can one not be excited?

And indeed, the film does not disappoint...or, rather, does not disappoint much...and certainly not quite in the way one would expect.

At one level, you could almost consider it a series of beautiful photos. In some scenes, the actors strike dramatic and affected poses, and the camera lingers...and it makes for wonderful stills.

The costumes and backdrops are stunning beyond fantasy art: eye candy taken to a level this reviewer has not previously seen.

The story and the characters are downright Byzantine (in the truest historical sense). People are sleeping with one another, plotting revolutions, murdering one another, and committing suicide: all of it being excessive to the point where the viewer simply fails to connect emotionally with these people. They are all thoroughly despicable. In fact, the character for which one has what little sympathy one can generate for any of these characters is the King (Chow Yun-Fat), who is a 'bad guy' in every sense. Yet, he reveals a humanness in his connection to his first wife, and their child, that makes him the most sympathetic character in the film--all the while still having a commanding stature, power, and confidence. One cannot help but feel awe for "this man who is truly king." And at that one level, the film strikes a chord. Chow Yun-Fat's performance, like many of the performances of his career, was subtle and perfect.

And as subtle as his performance was, it was in diametric opposition to Gong Li's performance, which had all the subtlety of a chainsaw; and in fact, appeared to be comically overacted. On the other hand, she was playing an utterly loathsome character, who was apparently on the verge of insanity. Maybe such a state induces one to behave in a fashion similar to a bad actor? Or is Gong Li simply a bad actor? Likely a bit of both, with a little less of the latter. In any case, Gong Li has a career largely based on roles where she is "free" to one-dimensionally overact...and thus, is likely overrated as an actor. Time and further performances will tell.

Relative acting abilities aside, Gong Li and Chow Yun-Fat have attributes that lend themselves well to a visual film of this type: they are stunningly and perfectly majestic. Their royal appearance is perfect for their respective roles in this film. When Gong Li is on camera, in her beautiful garb, one is mesmerized. When Chow is on, one is awestruck.

The supporting performances were mixed. Lau Yip as the oldest prince had the best supporting performance; and, again, almost, but not quite, generating some sympathy in the viewer. The middle (?) prince's (Jay Chou Kit-Lun) performance was embarrassingly hammy at a few points, but overall acceptable if not altogether believable. Chen Jin as the King's first wife is pure old-school melodrama redux (if not homage), somewhat out of place here. And lastly, the use of the school-girl-cute Li Man in a rather meaningless plot digression role left one wondering "why?” Or, rather, WTF?

By the end of the film, one feels overwhelmed by the incredible visuals of homicide, suicide, brutality, inhumanity, colossal mass-murder, as well as unbelievable beauty...and yet, one feels very little emotion for any of it...because we never truly connect with anyone enough to care. Chow's performance aside, it's just, "wow, that looks great".

This movie is a surreal dream: beautiful, ugly, and yet, not quite associated with reality.

Recommended: for the visuals, Gong Li's majestic beauty, and Chow Yun-Fat's subtly perfect performance.