Film Name:幕後玩家 / A or B
After watching the film “A or B,” I initially had no intention of writing a review. But then I reconsidered: this is merely director Ren Pengyuan’s debut feature film, and it’s not entirely without merit. Looking on the bright side, we should believe that “the road is long and arduous, but walking it will lead us there.”
Let me be blunt: this film barely scrapes by with a passing grade. If judged more strictly, it could score even lower. If you’re seeking a thrilling drama at the cinema, think twice. But if you’re not overly demanding about content quality, it’s worth a look.
[Friendly reminder: The following text contains spoilers.]
As a suspense-driven mystery thriller, “A or B” possesses several commendable strengths within the context of domestic cinema. These merits are undeniably present, yet ultimately fail to elevate the film’s overall quality—the crux lies in director-screenwriter Ren Pengyuan’s lack of sufficient “mastery” to fully harness these strengths. While the ideas exist, the means to execute them are lacking. The baton is raised high, only to fall short. It’s quite a pity.
First, the genre itself.
“Suspense” is inherently an intangible forbidden zone most dare not tread lightly. “A or B” not only charges headlong into it but boldly employs tricks like “switching identities” and “escaping from a locked room,” paying homage to the ‘Saw’ series. Additionally, the “secretly photographed posters” released before the premiere and the omnipresent covert surveillance throughout the film create a palpable sense of unease for the audience… For this alone, “A or B” stands out as refreshingly innovative and worthy of praise.
The problem lies precisely here: despite being a major selling point, the “locked room” never truly instills deeper panic or anxiety in the male lead, Zhong Xiaonian. He always manages to find ways to challenge and resist, and the “life’s A-B drama choice” he faces feels like little more than an afterthought (though part of the setup), making it even harder for the audience to immerse themselves. Then, the locked-room confinement plotline ends abruptly and confusingly midway through the film… While we understand the surveillance continues behind the scenes, this lackluster execution subtly diminishes the viewing experience.
Next is the professional element.
This is where “A or B” truly shines—unlike most films where ‘finance’ and “successful professionals” are mere glossy facades, this one finally delivers genuine industry substance. Money laundering, stock market manipulation, commercial fraud—these elements tangibly capture the ruthless nature of business, suggesting the creators did their homework.
What makes it great also makes it flawed. Precisely because “A or B” displays some professionalism, its “unprofessionalism” stands out all the more glaringly awkward. Setting aside the exaggerated portrayal of TV financial news’ immediacy and agency, one wonders if the director harbors some misunderstanding or romanticized view of the journalism profession… The journalists in the film oscillate between being overly honest and straightforward one moment, and recklessly bold the next. They fail to capture China’s “local flavor,” which, to put it bluntly, makes them seem “a bit fake.”
Next is characterization (acting).
Overall, the film performs reasonably well here. The shrewd and cunning Zhong Xiaonian (Xu Zheng), the demure and reserved Wei Simeng (Wang Likun), the gritty and determined Tang Wan’an (Wang Yanhui), and the both serious and humorous Tian Yu (Duan Bowen) — purely in terms of acting, this ensemble delivers high value for money and sits above the average for domestic productions.
However, I wouldn’t go so far as to say their personalities are particularly well-defined… Merely achieving this level is merely “not losing points”; in fact, some characters’ misaligned characterization actually “costs points.” Take Wei Simeng, for instance. She consistently presents herself as a grieving yet stubborn wife throughout the film. Even after discovering her pregnancy and revealing her elite academic background, her character undergoes no significant transformation. Yet upon reuniting with Zhong Xiaonian, she suddenly adopts the persona of a “business powerhouse” to confront two rivals in quick succession—engaging in activities she herself seems uncertain about. This abrupt shift inevitably jarringly disrupts the audience’s immersion.
Finally, the suspense setup.
This aspect likely tests the creators’ skill the most. One can only say that “A or B” barely got off to a decent start, making everyone seem somewhat suspicious. After that, it basically went downhill…
This kind of suspense thriller really tests your logical thinking and the pacing of clue placement. If done well, you might not be a master, but you’re definitely skilled. If done poorly, it’s like trying to paint a tiger but ending up with a dog instead… Truthfully, the film doesn’t contain an excessive number of inconsistencies, and its narrative holds together logically. Unfortunately, audiences have become rather discerning, and presenting an ordinary, unremarkable dish is unlikely to earn praise—after all, the ultimate “mastermind” revealed in A or B offers little in the way of genuine suspense.
Given these conditions where “good intentions didn’t yield much good,” the film’s final outcome is predictable…
It feels like a beginner English student writing an essay packed with advanced vocabulary and clever phrasing, yet riddled with grammatical and usage errors. Most teachers won’t award high marks just for those strengths—the fundamentals simply aren’t solid enough.
Of course, this critique assumes director Ren Pengyuan has potential for future growth. As the title suggests, his “courage is commendable”—new directors daring to tackle commercial genres deserve support. Besides, “A or B” isn’t a complete disaster, just riddled with issues.
Finally, a few words about lead actor and producer Xu Zheng—my primary reason for seeing this film.
Since transitioning from TV to film, Xu Zheng has rarely faltered in my memory: his performances in Call For Love, No Man’s Land, and Breakup Buddies all received decent reviews. his directorial efforts “Lost in Thailand” and “Lost in Hong Kong” achieved big results with modest budgets, showing clear ambition and growth. As a producer, he launched Chen Zhengdao’s career with “The Great Hypnotist,” and Yang Qing (“One Night in Supermarket,” “Chongqing Hot Pot”) also owes him for his mentorship… Now, Ren Pengyuan, director of “A or B,” is a newcomer, and upcoming films like “Dying to Survive” will follow suit.
Xu Zheng’s discerning eye for creators and his approach to discovering new talent deserve praise. While not yet “exceptional,” there’s always something commendable… One or two instances might be coincidence, but consistently avoiding (obvious) missteps year after year speaks to truly unique insight.
May this path grow ever wider in the future.
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