Two virtually look alike women Ming Ming and Nana; one flies bead with invincible force like warrior, the other just as ordinary and hysterical; they don't know each other yet fall for the same man named D who disappeared after both pursued his challenge of going to Harbin with 5 million dollars.
Ming Ming is a 21st Century martial arts princess and lady Robin Hood who steals for love. Her Prince Charming is D, a maverick fighter and irresistible rogue who posted this challenge to his swarms of female admirers - give him 5 million dollars and he'll run away with his benefactress to Harbin. Ming Ming meets D's another girlfriend Nana, who is a virtual look-alike of Ming Ming. Meanwhile, disappears from Shanghai without a trace. The only clue he leaves behind is a cryptic phone message.
Getting a veteran of movie videos and commercials to direct a feature film is invariably a risky proposition. The results can shine or literally suck, and the last thing any sophisticated audience needs these days is another jittery, two hour-long mishmashed affair that looks like a Taiwan pop music video from hell taken to an extreme.<br/><br/>With Susie Au, a first-time movie helmswoman with a resume full of pop productions, that scenario was all too likely to become reality. In fact, her directorial debut Ming Ming seems to have reached a compromise in this respect. Its first twenty minutes are so painfully nonsensical and over stylized you can&#39;t help but cringe in anger, yet after those initial phases of ridiculous OTT poppiness blow over, the project reveals itself as quite enjoyable.<br/><br/>Get past the obvious attempt to rekindle interest in Kill Bill&#39;s Hong Kong heritage through transparent &quot;references&quot;, and beneath lurks a passably interesting escapade.<br/><br/>On the upside, Ming Ming delivers characters that surprise with their ability to grow and evolve over the course of a relatively short, and frequently very vacuous, release. Heading the cast is Zhou Xun, who fittingly enough plays two separate and identical looking protagonists. Ms. Zhou has displayed a mixed bag of performances in the past, shining in Where Have All the Flowers Gone and Beijing Bicycle, but irritating with exaggerated acting in films like Suzhou River.<br/><br/>In Ming Ming, she&#39;s both. As the titular character, Zhou does a vaguely Trinity-meets-The Bride, disaffected assassin that puts a whole new spin on beads and rosaries. Instead of guns, she launches marbles at her adversaries, cutting a swath of destruction through the henchmen of arch mobster Brother Cat (Jeff Chang). This happens after Ming Ming purloins a sum of money from the gangland boss, funds to be used in financing a new life for her with sulking hunk Ah D. The latter, a fist-fighting mob enforcer, is conveyed by Daniel Wu in a thoroughly disappointing part. We&#39;ve gotten used to seeing quality and sincerity from Daniel, and in Ming Ming he just doesn&#39;t have those virtues on display.<br/><br/>Back to the story. Oddball luck brings together wide-eyed triad lackey Ah Tu (Tony Yang) and Ming Ming twin Nana as the money gets misplaced, changing hands and ending up with these two apparently totally unrelated individuals.<br/><br/>On the run, Nana and Ah Tu take over the movie and show it does have merit. Both Zhou Xun and Tony Yang proceed to deliver very respectable performances, showcased by way of dialog and mood-setting scenes on the way to and around Shanghai.<br/><br/>Yang impresses as innocent, loyal and loving Ah Tu, certainly adding to the young actor&#39;s portfolio. Zhou Xun truly dazzles those in attendance as the genuine Nana, a character doing the actress far greater justice than the cardboard cutout silhouette that is Ming Ming. And who knew Ms. Zhou is so fluent in Cantonese? Yes, language plays an important part in Ming Ming, and for that we salute the production team. Cantonese, Putonghua and Shanghainese all find room herein, that last one to a large degree from the sensuous mouth of long gone but never forgotten lovely Kristy Yang, a Shanghai native herself. Yes, she has returned! Although a small cameo, it&#39;s still awesome to have her around again.<br/><br/>Ming Ming further contains some highly enjoyable music, and is generally well-produced. Those frenzied opening sequences we could have easily dispensed with, but in the end an Armageddon-like debacle is averted just in time for a bona fide twist ending that, for a change, puts the various plot pieces together with grace rather than rushed clumsiness.<br/><br/>This isn&#39;t the new benchmark for indie cinema, but it gets the job done and should be viewed by all appreciators and supporters of film-making in Asia and movies in general. It&#39;s also proof positive that first impressions can be deceiving, so please, don&#39;t despair, stick with it and you will be rewarded.<br/><br/>Rating: * * * 1/2
This should really be called Nana (instead of Ming Ming) because that&#39;s the name of the other of the two characters Zhou Xun plays; the one who has the orange hair, quite a bit more screen time, and a better story line if you could separate them. This is NOT a martial arts film unless you consider flinging marbles and flicking matches at people martial arts. I thought it was silly. Director Susie Au obviously comes from a music video background. I found the random quick and quirky edits tiring, although they did set up the actors with wonderfully posed portraits throughout. Daniel Wu has an awesome hairdo if you go for that kind of thing. Zhou Xun&#39;s Cantonese is quite fetching and ordinarily I could watch her all day long. She&#39;s one of the more engaging actresses from China. (See her in &quot;The Equation of Love and Death&quot; or &quot;Painted Skin&quot;) It&#39;s too bad that the director&#39;s heavy-handed style gets in the way of enjoying this film where identity as an ambiguous thing is decently explored.


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