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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. ....

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