impossible to watch in many United States cities, it’s already caused a stir across the Pacific. Financed in part by Chinese conglomerate Tencent and working in a style informed by Chinese blockbusters, Paul W.S. Anderson’s latest CGI bonanza was intended to be a huge hit in the lucrative Chinese movie market. Anderson’s apocalyptic-Western minimalism matches Asian sensibilities to North American ones better than most movies attempting to reconcile the two, but something was still lost in translation. A line of dialogue that evoked a World War II-era racist schoolyard chant got the film pulled from Chinese cinemas and review-bombed into oblivion. Even after a re-edit to remove the offending section, it was rejected from public exhibition. An evolved sense of artistry couldn’t preclude the political friction that often accompanies these kinds of international affairs.