The start of this movie gave me hope I was on to something OK. There was some artistry in it, and the opening twist was promising. (But why does the bloody graffiti, i.e. "Come and see," have to be written in such phony, perfect handwriting?) That was all lost in an instant when Ziyi Zhang's character suddenly revealed herself for "what she was" - in the process suddenly going from normal middle class immigrant girl to ludicrous, evil, wry, hissing, (awkwardly) seductive, bloken engrish Oriental villainess. Cringe! I felt embarrassed on behalf of her and the producer.<br /><br />I should have done what I wanted to do and gone straight to bed. But (deadbeat) curiosity got the better of me. However, I found everything else went downhill, too.<br /><br />Particularly repulsive (and it takes a lot in a movie to actively repulse me) was the virtual rubber stamp this movie gave to homophobia. One of the "horsemen" as a gay character with a big brother so redneck and devoid of familial feeling that it almost went beyond belief, and who the gay character ended up disemboweling himself in front of because of his brother's rejection.<br /><br />That plays on so many nasty old preconceptions, myths, and prejudices about homosexuality ("Homosexuals are never happy," "They bring it on themselves," "'Real' men can never feel comfortable with gay men" etc. etc.) that it's hard to believe this movie was made in the 21st century.<br /><br />And as for the "revelation" (excuse the pun) at the end about who the fourth horseman was - puh-leeze, give me some credit. Saw it coming from way back.<br /><br />Predictable, poorly acted, out-of-touch pantomime.