Go Back to China

Good performances and a simple story about an overly complicated family dynamic all comes together making a wonderful story of family.

The third act is crammed with twists and revelations that ultimately seem forced, and can only offer truncated reconciliations. And yet there’s something to be said for the pleasure of watching Sasha, still a bit silly and definitely in need of more life experience, succeed on her own terms and in her very own movie.

Not every note rings true, but this breezy pop song of a movie is mostly fun while it lasts.

The capable cast and brisk pacing keep attention held toward a happy ending that pleases even if it is a bit pat, not to mention inevitable.

Ting’s conceptually solid film is briskly paced, and its heart is in the right place. With a more fine-tuned screenplay, it could have been better than a serviceable movie.

The biggest trouble here is in the writing. By the time the film gets around to showing what a character has felt, they have already told the audience twice — and most likely another character has explained as well, just in case anyone missed the memo.

The didactic screenplay sinks the film. Instead of exploring characters, or having them spout witty lines, Ting has them explain everything to each other, out loud, almost all the time. ... It’s great to see more films with Asian and Asian-American actors and stories, especially one written and directed by a woman. But while Ting’s movie may be heartfelt, it offers viewers more fluff than heart.