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Chan Is Missing Reviews
Style, not story, is the real reason for watching Chan Is Missing. It’s shot with many references to film noir while also ironically salting in some Charlie Chan-like aphorisms.
Wang simply chooses to ignore conventional bounds altogether, instead creating a film that acts as geopolitical primer, a delicate portrait of a community, and meditation on identity politics and border anxieties in contemporary America, all in one.
Wayne Wang’s playfully enigmatic debut was a watershed for Asian American filmmakers.
Wood Moy and Marc Hayashi serve notice that they are actors worthy of more films. But the lion's share of the credit for Chan Is Missing must go to director Wang, who with this one tricky little film serves notice that he is a filmmaker to watch.
It is in black-and-white, it is quite funny, and it is a revelation.
Provocative and funny.
Chan Is Missing is valuable for its fresh look at a world we've never really seen on screen before.
Chan is no masterpiece but those interested in seeing an undeniable talent on his solo flight will be more than satisfied.
Wayne Wang is definitely a young director to watch.
Chan Is Missing is craftily iconoclastic; unlike so many big-budgeted Hollywood genre-splicings and sendups, it sledgehammers old forms, not just for the heck of it, but with an eye toward building something new.
Chan Is Missing, but fortunately side-splitting humor that pokes not-so-gentle fun at ethnic stereotyping is not.
It's a marvelously humane work that stays in your mind.
Chan Is Missing tells a story, and tells it well, and young filmmaker Wayne Wang, who produced, wrote, directed and edited, shows a great deal of talent.
It's a film with personal vision, the sort of idiosyncratic vision usually sacrificed when the production budget becomes major.
Although the film's inordinately low budget lets us see too many seams in both the cinematography and editing, it also reminds us that technical flaws can be overcome by a story and characters that vibrate with sincerity, warmth, compassion and humor.
It's refreshing, fast, funny and perceptive.
Wang has taken a fairly conservative film genre and subverts it from within.
[Moy's Jo] is the hub of the wheel that rolls through the manhunt.
Chan's tone is set right at the start, with a Chinese recording of Rock Around the Clock, and is carried on throughout by a series of good-humored vignettes.
This grainy little black-and-white movie is ostensibly a detective mystery, but in fact it is an enlightening filmic discussion on what it is to be a Chinese-American in San Francisco.