While Lulu Wang’s emotional family drama “The Farewell” may have broken through last year, and upcoming comic book adaptations “Birds of Prey” (by Cathy Yan) and “The Eternals” (from Chloé Zhao) sp…
and co-writer Angela Cheng proves there are plenty more emerging Chinese American talents just waiting for their shot. All it takes is a little good fortune — and the support of a few encouraging festivals, like the Tribeca team that gave this film a boost — and they should be on their way.Tsai Chin
of “The Joy Luck Club” as a surly, age-toughened widow who, reluctant to accept that it’s time to move in with her son , follows her fortuneteller’s advice and takes her life savings to the casino. Kicking things off in style, Sealy introduces Grandma Wong chain-smoking on the streets of Chinatown in a punchy, smash-cut montage set to an original song that suggests a Sino-tuned cover version of Nancy Sinatra’s “Bang Bang.
After withdrawing every cent she has from the bank, Wong begins to spot auspicious signs all around her , which makes the trip to Atlantic City suddenly feel like a good idea. Still, Wong’s superstition is subjective, and the universe has a strange way of rewarding her behavior. At the tables, things do not go at all as we might expect. But on the bus ride home from her rowdy gambling escapade, a satchel full of money literally falls into Granny’s lap.
The idea that someone like Wong would need security is amusing unto itself, but winding up with a lazy, 6’7″ giant like Big Pong makes the punchline that much more effective. Big Pong looks like an overgrown child tagging along with his elderly auntie on trips to the swimming pool and the hairdresser. In one pure-comedy sequence, Wong’s actual grandchild, David , drops by to practice dance moves with a friend while she and Big Pong try to watch soap operas in the living room.
Doubling as producer, Chin is plainly the film’s greatest asset, a terrific actor with great comic timing and a tendency to underplay her character’s reactions, which helps to offset the relatively broad performances that surround her. This is one of those delicious cast-against-type late-career roles, like Shirley MacLaine in “Bernie” or French New Wave icon Bernadette Lafont as pot-dealing granny “Paulette,” that supplies more than enough entertainment to carry the entire film.
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