The Four (2012)

The Four is the kind of exuberant wuxia-fantasy that reminds you movies can be pure, painterly spectacle: gravity-defying fights, moody Song-dynasty streets, and a playful supernatural streak that escalates from crime intrigue to full-blown nightmare pageantry. Gordon Chan and Janet Chun Siu-Chun stage action with real snap and clarity, letting the choreography and wire-fu do the storytelling while the production design and cinematography bathe everything in rich, comic-book elegance. Deng Chao brings a compelling edge as Coldblood, and the ensemble—especially Liu Yifei’s cool, enigmatic presence—gives the film a likable center amid the chaos. Fair warning: the plot can get convoluted, but if you’re on the fence and mainly want stylish martial-arts mayhem, striking visuals, and a fun “detectives versus the uncanny” vibe, this one delivers.

The Four is trying to mash up a slick Song-dynasty detective story with comic-book superpowers and undead mayhem, and on a surface level it looks the part with stylish sets, attractive costumes, and a cast that knows how to sell wire-fu. The problem is the script piles on factions, betrayals, and a love triangle until the plot starts feeling more busy than gripping, and the direction rarely builds real tension or payoff. Action fans will get plenty of flashy fights and CGI-powered abilities, but if you’re coming for a tight mystery, strong emotional stakes, or a memorable score to carry the momentum, this one can feel oddly flat. Best suited to viewers who mainly want pretty visuals and fantasy martial-arts spectacle and don’t mind a convoluted, average-at-best story getting in the way.