 |  |  | | | He who has been there does not believe in marriage any more, and she who dreams of being there is more indulged in the wedding ceremonies than in their future conjugal lives. She who organizes wedding ceremonies envy her clients and would like very much to try it for herself. And finally, she manages to get someone who loves her more than she loves him to fulfill her wishes. This is a paradox of love, and it shows that everyone has a paradox of his/her own. Being a new director working on his first film, Yuen's paradox is praising the beauty of the world with a hesitant voice and a doubtful mood. | | LOG IN TO COMMENT ON THIS REVIEW! |
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| | | | | Marriage being the final "end product" of love relations between a man and a woman, this is definitely one of the most traditional interpretations. The film does not aim at examining the essence of marriage; instead, it is used as a tool to measure the depth of love in question. This is a very conventional perspective and, unfortunately, the most widely adopted one in Hong Kong cinema. It is really disappointing that The Wedding Days still embraces this outlook. As the professions of Young and Chan have everything to do with wedding ceremonies, it is natural for us to expect them to have something more reflective to say about marriage. Yet, the script has given them nothing but skin-deep feelings. What a waste. | | LOG IN TO COMMENT ON THIS REVIEW! |
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| | | | | The greatest possible pitfall of romantic comedy is the leads' failure to strike up instant chemistry with each other. The storyline of The Wedding Days is not bad at all: one woman pursues the ideals of marriage, while the other is involved with a married man and is trapped in a situation where dreams have turned sour. The problem is the four leads are simply unconvincing as two couples. No passion can be felt between Yuen and Wong, while Young and Chan are more friends than lovers. Next time, if anyone wants to pair these stars again, it is advisable to check the "chemical reaction" among them first. | | LOG IN TO COMMENT ON THIS REVIEW! |
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| | | | | UFO's productions are always serious and professional, and this directorial debut by James Yuen is no exception. Every scene and every dialogue are planned with careful and meticulous calculation, rarely found in other sloppy local films of the same period. Yet, it is precisely out of its strenuousness that problems arise. To put it casually, there are no surprises in store. Otherwise, the calculations are simply too heavy-handed. But even more disturbing is the kind of middle-class complacency so taken for granted, and the way difficulties inherent in modern love relationships are glossed over. It seems UFO is gradually losing touch with the young audience of Hong Kong. | | LOG IN TO COMMENT ON THIS REVIEW! |
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