Where do we start with Wong Kar-wai’s “The Grandmaster,” a moody, mannered and often spectacular martial-arts epic that’s been five years in the making (and many more since its conception) and now exists in at least three different versions? First of all, fans of the great Hong Kong auteur who brought us “Chungking Express” and “In the Mood for Love” largely won’t be disappointed. The bizarre Norah Jones misfire of “My Blueberry Nights” target=”_blank” six years ago – ultimately not a terrible film, but also not a very good one – has been consigned to the memory hole, and “The Grandmaster” brings Wong back to a gorgeous, heavily stylized Chinese period piece wrapped in nostalgia and melancholy, along with the glorious visages of Tony Leung and Zhang Ziyi as lovers sundered by fate.
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“The Grandmaster”: A moody, dreamy martial-arts epic
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